1 Bradley Quinn 2002
2 Suzanne Lee 2005
Experiments
There isn’t much information in literature about collaboration in
fashion with technicians or scientists. Only some field notifications
of contemporary techniques applied in clothing like Techno Fashion from
Bradley Quinn1 and Fashioning the Future2
from Suzanne Lee. They give a nice overview about fashion innovations
but nothing about the synergy- or the lack of synergy- between designers
and technicians in the fashion field.
That’s why a theory has to be created by doing some experiments
and identify problems that appear along the way during collaboration between
designers and technicians.
by-wire began some collaboration projects between us, as designers, and
technicians (technical companies), with the goal of create a garment where
fashion and technology become one in an innovative setting. Then we can
experience the pitfalls in collaborations from fashion perspective.
6 What are the pitfalls in collaboration between
fashion designers and technicians from a fashion perspective?
If pitfalls are identified, solutions can be found. The results can be
used in the field analyses and as inspiring references for future projects.
The first method was to design a collection of fashion items and noted the steps that were needed to produce them. Soon I experienced that it isn’t easy to push collaboration in a system. This approach is based on industrial thinking and reduces technicians’ influence down to executers. From the field analyses I noticed that the projects which are the most balanced are the ones with synergy in fashion and technical quality. So this isn’t the way to create new products and innovative collaboration.
[A theory from Michael Bierut about this subject >>]
The new approach was to come in contact with companies without a project proposal and get inspired by the interviews and in-house techniques. Balance is the key. The proposals came during and after the interviews with the technicians. The experiments started concurrently at several different companies. [collaboration scheme>>] This way of working gives the capability to switch companies and projects if it seems to fit better. The roles of designer, initiator, executer, can fluctuate every moment.
Six products are explained. What is produced and which steps had to be taken?
Each stage will be classified by the three I’s; inspiration, implementation and irritation.
![[2 >>]](afbeeldingen/dossier/by-wire/by_wire_HuggyCare.gif){kind=link}
Some of these are analyzed with literature.
To create a successful collaboration is difficult, I discovered.
Being a student has positive effects. Initiation comes from my side, I don’t have to make profits and most of them like the freshness and enthusiasm students have. But I don’t have a known reputation yet, not in fashion and not in the technical world. I think that, for example, Hussein Chalayan can count on much more positive reactions out of the professional world. But later collaborations started easier because I could name Ten Cate and TNO as preceding collaborators. In July a company took even initiative [Dorel, Maxicosi, Quinny>>] Therefore I am developing that part.
6 Matthijs Vertooren 2007
7 Ed van Hinte 2006 p246
14 Joke Robaard 2004 p10
In this time I had to create a research method, search for companies, contact them, start the collabora-tion, produce a prototype and analyze it all. In the fashion world we are used to fast production. ‘Fashionable clothing hyperventilates.’14 Brands produces at least two collections a year, H&M even about ten or more. I noticed total different experiences with the concept of time in the technical companies I worked with. [different experiences of time >>]
17 Bert Heesink [20070221 blog] R&D manager Ten Cate
Four pitfalls are identified. Reed more about a solution that can solve some of these pitfalls in the [conclusion >>].