902 research outputs found
The radical right in Europe, between slogans and voting behavior. IHS Political Science Series No. 123, July 2011
No full textThe paper analyzes the radical right‘s attitudes toward the EU focusing in particular on the level of congruence between the programmatic statements of the central office and the voting behavior of their MEPs. It shows that although radical right parties represent a source of opposition to the EU, within the EP they express their dissent making use of the rules of the game, voting with the opposition more than the other forces do, but voting almost as much with the majority. The party public office in the EP is inserted in the legislative process and even more collusive with the other parties of both sides of the political spectrum than the Eurosceptical rhetoric and statements of central office makes the public believe
3D technology and industrial design to breathe new life into product design. Is this the future of fashion and textiles?
No full textIn the actual globalized context in which the cross-fertilization innovation process among disciplines and different fields of project mixes together forms, systems and processes, cultural identities can make the difference in the production and in the consumption of the products.
The approach to fashion design and system build around it must be faced in cross-sectional way; to work on fashion doesn’t mean develop a dresses collection but it refers to the analysis of design processes that generate the project intention.
Knitting is one of the most ancient craft arts in the world. It is a complex set of technical, social and cultural heritage that make it one of the best techniques human beings have ever invented, as it produces resistant and warm garments, fully reparable, it allows body movements and all the material can be recovered as a yarn and reused once the garments are worn out. Although it is more than 8,000 years old, it is still one of our most innovative technologies.
3D printing is slowly but surely changing the fashion system as we know it, from the runway to online retail. Some of today’s loudest fashion statements are coming fresh out of a 3D printer. Beyond just being utilized to create printed garments and accessories, 3D printing technology is also being looked upon as a muse to help innovate classic techniques, such as knitting.
Knitwear process has indeed a lot in common with the 3D printing, especially in the way 3D printed objects are made: successive layers or a single wire of extruded material are overlapped by an industrial robot, the printer, under computer control to create any desired shape or geometry.
In the same way industrial knitwear production is a process where a single continuous yarn is weaved by a knitting machine, controlled today by computer programs, and gives back a three-dimensional garment to be wore and adapted to the human body.
But if 3D printing is a process that gives a lot of freedom to the designer as it allows him to prototype easily, to make cheap trials and to reach complex results with less efforts, knitwear has still got a long and fragmented production chain, with many steps from the idea to the final garment and a great expenditure of time and resources to reach the final result.
Even if all the process is controlled by the most advanced electronic machine and by the latest and most updated software, every step from the yarn to the stitch, from the gauge to the fabric needs the man’s eye and hands, to monitor and steer the possible outcomes.
So, how technology could today act to facilitate this process? How can 3D printing innovations be applied to a so specific area of Fashion Design, really different from accessories, jewels and even from textile?
How is 3D technology transforming knitwear, one of the most ancient craft arts in the world?
No one could think to a “commonly 3D printed” knitwear, as true knitwear is made by weaving a single yarn and modelling the shapes of a piece of cloth by increasing and decreasing stitches: if printed, and so made without this weaving needle after needle, knitwear would lose its essence.
So the most appropriate way to talk about “3D printed” knitwear is to talk about the use of traditional techniques processed by the most sophisticated and technologically evolved machines, using coding to power these knitting machines as though they are 3D printers.
Today there are 3D printed fabrics that look like knitted webs but they aren’t, there are knitted fabrics with a 3D effect and there are clothes produced in three dimensions without seams: all these innovations are yet the result of a research and development process that has been made since the 1960s and 1970s, when knitting machines entered the market from companies such as Toyota, Brother and Singer that are keeping on searching for more effective and faster production technologies.
The biggest innovation that this paper aims to highlight is happening again on the process much more than on products, and on the user much more than on machines: as 3D printing is transforming production of solid objects into a more democratic and accessible process, what this paper will define as 3D knitting is high-tech that innovates the connections between the product and the user: knitting machine will soon be an open technology and knitting will be an easy-to-manage technique, to create made to order and custom garments.
With some best practices taken from different areas of knitwear, fashion and also product design, this paper aims to deeply investigate what is 3D technology when applied on knitting processes, what are its future developments and how it will influence consumption and production of knitted garments and objects
3D technology and industrial design to breathe new life into product design. Is this the future of fashion and textiles?
No full textIn the actual globalized context in which the cross-fertilization innovation process among disciplines and different fields of project mixes together forms, systems and processes, cultural identities can make the difference in the production and in the consumption of the products.
The approach to fashion design and system build around it must be faced in cross-sectional way; to work on fashion doesn’t mean develop a dresses collection but it refers to the analysis of design processes that generate the project intention.
Knitting is one of the most ancient craft arts in the world. It is a complex set of technical, social and cultural heritage that make it one of the best techniques human beings have ever invented, as it produces resistant and warm garments, fully reparable, it allows body movements and all the material can be recovered as a yarn and reused once the garments are worn out. Although it is more than 8,000 years old, it is still one of our most innovative technologies.
3D printing is slowly but surely changing the fashion system as we know it, from the runway to online retail. Some of today’s loudest fashion statements are coming fresh out of a 3D printer. Beyond just being utilized to create printed garments and accessories, 3D printing technology is also being looked upon as a muse to help innovate classic techniques, such as knitting.
Knitwear process has indeed a lot in common with the 3D printing, especially in the way 3D printed objects are made: successive layers or a single wire of extruded material are overlapped by an industrial robot, the printer, under computer control to create any desired shape or geometry.
In the same way industrial knitwear production is a process where a single continuous yarn is weaved by a knitting machine, controlled today by computer programs, and gives back a three-dimensional garment to be wore and adapted to the human body.
But if 3D printing is a process that gives a lot of freedom to the designer as it allows him to prototype easily, to make cheap trials and to reach complex results with less efforts, knitwear has still got a long and fragmented production chain, with many steps from the idea to the final garment and a great expenditure of time and resources to reach the final result.
Even if all the process is controlled by the most advanced electronic machine and by the latest and most updated software, every step from the yarn to the stitch, from the gauge to the fabric needs the man’s eye and hands, to monitor and steer the possible outcomes.
So, how technology could today act to facilitate this process? How can 3D printing innovations be applied to a so specific area of Fashion Design, really different from accessories, jewels and even from textile?
How is 3D technology transforming knitwear, one of the most ancient craft arts in the world?
No one could think to a “commonly 3D printed” knitwear, as true knitwear is made by weaving a single yarn and modelling the shapes of a piece of cloth by increasing and decreasing stitches: if printed, and so made without this weaving needle after needle, knitwear would lose its essence.
So the most appropriate way to talk about “3D printed” knitwear is to talk about the use of traditional techniques processed by the most sophisticated and technologically evolved machines, using coding to power these knitting machines as though they are 3D printers.
Today there are 3D printed fabrics that look like knitted webs but they aren’t, there are knitted fabrics with a 3D effect and there are clothes produced in three dimensions without seams: all these innovations are yet the result of a research and development process that has been made since the 1960s and 1970s, when knitting machines entered the market from companies such as Toyota, Brother and Singer that are keeping on searching for more effective and faster production technologies.
The biggest innovation that this paper aims to highlight is happening again on the process much more than on products, and on the user much more than on machines: as 3D printing is transforming production of solid objects into a more democratic and accessible process, what this paper will define as 3D knitting is high-tech that innovates the connections between the product and the user: knitting machine will soon be an open technology and knitting will be an easy-to-manage technique, to create made to order and custom garments.
With some best practices taken from different areas of knitwear, fashion and also product design, this paper aims to deeply investigate what is 3D technology when applied on knitting processes, what are its future developments and how it will influence consumption and production of knitted garments and objects
h a n d s t o r i e s o f i t a l y. The Buranoâs jacket. How fashion designers can use the territory to develop a collection
No full textIn the actual globalized context in which the cross-fertilization among disciplines and different fields of project mixes together forms, systems and processes, cultural identities can make the difference in the production and in the consumption of the products. âh a n d s t o r i e s o f i t a l y. The Buranoâs jacketâ is a project developed as a thesis in Fashion Design at Politecnico di Milano. It consists in an application of Burano lace as the main element in a collection of sports men's jackets with the purpose of enhance the tradition of the "Italian tradition know-how".
Exploring the regions and crafts of Italy we discovered that the elements of the stories told in the regions from generation to generation tell a lot about the belief of the people of that region. These elements keep repeating in the crafts as a form or color. As a next step we decided to focus on one region which we analyzed in depth and made a collection inspired from the region and the craft practiced in that region.
The paper focuses on the territorial dimension of the project; more and more frequently we are currently seeing the return and a new discovery of traditional techniques and manufacturing, which have re-appeared in the contemporary world with a new look and a new balance. As it is subject to changes in time, the set has to be interpreted as a variable heritage which should be preserved. Today the object of market and consumption is not only the simple possession of a specific product but it is the experience, the âstoryâ that the customer can live inside the object, according to values of the manufacture that create add value to the existence
Fashion design and Contemporary Art: tools for public space enhancement
No full textContemporary city is an incubator for culture, the advantaged place where there is either confrontation and clash of emerging styles.
Fashion design is a founder brick for contemporary culture. Within the history of fashion design industry, there are many cases of convergences between fashion design, public space and art.
Since the second half of Nineteenth century fashion -first with the passages, then the so called monumental galleries, then department stores- reached the compact space of the city. With prèt à porter boutiques were born, then the mid-range shopping chains. So spaces of fashion consumption have become critical for trade, but also an opportunity to develop new languages, for both art and fashion.
Art, as a way of facing reality, needed the public space of the city to generate, a constant even in today’s world.
The successful relation between fashion design, public space and art is a public/private oxymoron. Fashion and art have both the capability to operate as a defensive barrier for people, but with a stunning external communicative strength. Both usually spring out from conflicts and overlapping groups, each of which is defined by its lifestyle, included in its institutions and social relations, in its beliefs and customs and its use of objects in the material life. Fashion is an “empire of the ephemeral” (Lipovetsky, 1989), but with enough strength to influence urban culture. As well as art.
Cultural planning and strategic plans for the urban promotion do not often include people in their planning stage. The result is a substantial disconnection between the urban policy plans and the real identity of citizens with changes in lifestyles, consumption habits, mixing culture.
The research question of the paper is how and whether fashion design, together with art, can today act within the framework and the logic of public space development, encouraging the emergence of participative citizenship, and giving operative tools to the city to assert it contemporary identity
h a n d s t o r i e s o f i t a l y. The Burano’s jacket. How fashion designers can use the territory to develop a collection.
No full textIn the actual globalized context in which the cross-fertilization among disciplines and different fields of project mixes together forms, systems and processes, cultural identities can make the difference in the production and in the consumption of the products. “h a n d s t o r i e s o f i t a l y. The Burano’s jacket” is a project developed as a thesis in Fashion Design at Politecnico di Milano. It consists in an application of Burano lace as the main element in a collection of sports men's jackets with the purpose of enhance the tradition of the "Italian tradition know-how".
Exploring the regions and crafts of Italy we discovered that the elements of the stories told in the regions from generation to generation tell a lot about the belief of the people of that region. These elements keep repeating in the crafts as a form or color. As a next step we decided to focus on one region which we analyzed in depth and made a collection inspired from the region and the craft practiced in that region.
The paper focuses on the territorial dimension of the project; more and more frequently we are currently seeing the return and a new discovery of traditional techniques and manufacturing, which have re-appeared in the contemporary world with a new look and a new balance. As it is subject to changes in time, the set has to be interpreted as a variable heritage which should be preserved. Today the object of market and consumption is not only the simple possession of a specific product but it is the experience, the “story” that the customer can live inside the object, according to values of the manufacture that create add value to the existence
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