Design research in Fashion: from trends to design directions

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1 Design research in Fashion: from trends to design directions Chiara Colombi Assistant Professor in Fashion Design, INDACO Dept (Industrial Design, Arts, Communication and Fashion), Politecnico di Milano, Italy Abstract Trend forecasting historically represented a particular research tool developed in Fashion and based on an observation activity that aims to early own information about fashion trends evolution in order to manage productive chain and marketing strategies. Today, on a design oriented point of view, trend research does not aim to new products development. A trend appears as content already present on the market for a long time so it can be observed and described as overt and relevant to a certain community of users. Since Fashion looks into real experiences and affects them by giving an interpretation of them, it requires a careful reading of the present and the creation of probable contents. Starting from this knotty problem, the aim of the paper is to clarify the reasons why trend research cannot be considered a research tool for innovation and codify a design research process that can be relevant in fashion design practices. Keywords: Trend Research. Knowledge Transfer. Sign Grasping & Direction Design Process. Visualization. 1 Innovation in Fashion: style and identity Fashion is the mould of the contemporary culture, in its ability to join in the dynamics between individual and society. (FIORANI, 2006, p. 8) Therefore, today Fashion, that has always been a multi-dimensional universe, is not just a change, a trend, and the spirit of the times, the succession and combination of styles. It is not just a relation among classes. Fashion is the most complete expression of a post-modern industrial culture that finds its way to be in the design process. (FIORANI, 2006, p. 7) Traditionally, innovation in Fashion is described as an aesthetic issue. Referring to its stylistic contents 1, fashion innovation is defined as distance from the past and distinction and exclusivity in the present. Innovation is represented by the creation of a different style, that is a style away from styles proposed in the past, or an exclusive 1 Different authors state style is a code thought that it is possible to communicate accomplished meanings starting from elements that could in many combinations, as letters of the alphabet. Among the many, Barthes, R. and Davis, F. Different kind of fabric; fabric s composition and weight; colors and relations among colors; cuts, volumes and outfits; constructive elements; finishing and details compose the code of Fashion. 22

2 style, that is distinctive in a contemporary setting (CAPPETTA; PERRONE; PONTI, 2003). According to Loschek (2009, p.1), referring to Niklas Luhmann s contemporary social theory [...] fashion displays self-perpetuation through its continual generation of new creations from within, without being part of the economic, art or media system. Referring to the Fashion s identity-making assumption and considering the capability of fashion items to represent the contemporary individual and social issues, this interpretation is heavily limited. As fashion products represent symbolic and cultural values of a certain society and this society is expressed through the materialization of the peculiar elements of its cultural evolution in tangible artifacts, the objective of Fashion is not the change itself. Moving from the symbolic innovation s definition (CAPPETTA; PERRONE; PONTI, 2003), the formal aspect of a product is not its own peculiar aspect. The focus is referred to the content built into a product so it is possible to make a differentiation between clothes and Fashion. On one hand, clothing is very concrete: a product that apparently surrounds us all the time, one that permanently contains us. On the other hand. However, Fashion is extremely abstract, since it is negotiated within society. The [...] social constructs are what make clothing into fashion. Fashion requires the places and means to reach it addresses. (LOSCHEK, 2009, p. 2) In accordance with this interpretation, innovation is the capability of a product to be similar to the symbolic and cultural system of reference. So innovation in fashion has a cognitive orientation. In this interpretation, a product can be defined innovative only if the user has suitable cultural tools to correctly comprehend its innovation and recognize it as a new content, in comparison to something that already exists, and as a relevant content, in relation with a certain social context of reference. And, on the other hand, brands, companies and designers have to be able to define a linguistic code to coherently translate a relevant social meaning. According to this interpretation, in order to affirm a new content, a linguistic code has to be pervasive across all the contexts that participate in creating a cultural system. The redundancy of content in many sectors is a confirmation of its relevance, such as an auto-confirmation mechanism. The consumer is highly submitted to the message and this augments the stimulus s occasions for a correct evaluation of a product. It favors the knowledge creation by the company and the consensus creation by the costumer. Fashion s driver is not just an obsession for change to manage the cyclic and programmed obsolescence of products. The classic substitution assumption (SVENDSEN, 2004, p. 34), according to which a new item supplants the previous one, is refused. Fashion aims to represent a certain context by investigating it and interpreting it because of an identity-making assumption that indicates a product is new if it expresses and embodies values of a social group of reference. Therefore, fashion innovation, as socio-cultural representation in a certain age, is strongly related to the Zeitgeist. 23

3 2 Knowledge in Fashion: trends and evolutive trajectories The myth of the origin of a certain trend is discredited and Fashion is going to be configured as a ripple of the socio-cultural system that, through the action of some subjects or groups, is catalyzed and assumes a wide visibility. (BARILE, 2005, p. 61) According to the aforementioned interpretation, knowledge creation in fashion is strictly connected to a context analysis and with a research of all the elements that express and define a certain cultural attitude and of all the symptoms of a probable change in order to define new meanings. The design activity begins from the interpretation of these contents. In Fashion, the context analysis is historically knows as trend forecasting or trend research, a qualitative research developed across all the tangible and intangible cultural contexts, without geographical or marketing limitations, and based on codified and uncodified sources. The classic fashion-forecasting model is based on three main phases: surveying, evaluation and selection of relevant signs. In the real practice, the surveying activity focuses on core cultural industries (HESMONDHALGH, 2002) (art, literature, film industry, record industry, entertainment industry, etc.), which produce textual, visual and experiential contexts on a symbolic and aesthetic level and consumption goods industries (architecture, design, furniture, arts&crafts, graphic design, publishing industry, automotive, food, beauty, etc.) in relation to which symbolic, aesthetic and perceptive evolution/innovation are defined. But it misses to make interferences with socio-political systems (political movements, cultural mainstream and underground systems, consumption phenomena, etc.) in relation to which it is possible to define the evolution of values and behaviors in collective imagination and really refer to sociocultural representation. The evaluation of the surveyed signs is set by personal insight, such as an un-codified qualitative analysis, without any relation with the social context of reference, as it was a dogmatic divinatory practice. It proposes a selection of different and not common items signs from different fields as new or innovative and meaningful to define a probable future. Above all, it is important to notice that the final outcome is just a selection that pretends to anticipate the future being just the description of the present. As already stated, it is a context analysis and not a design activity. It does not represent any interpretation that could create new knowledge and add value. If creativity is the capability to combine already known information in a different way (DE BONO, 1998) a trend does not offer any design contents. Moreover, referring to the classic dissemination cycle (KAISER, 1985) the generic term trend defines just the content in its higher dissemination s period, after it has been on the market after a certain period of time and it has reached a large majority of consumers or mainstream (MOORE, 1991; VEJLGAARD, 2008). It refers to something already existing and largely recognized, accepted and used. This denies the common 24

4 definition of trend research as activity that aims to preview probable contents that can substitute the already existing ones also because Fashion does not tent to a forced change but rather it aims to read the socio-cultural evolution. Therefore, the definition trend research and its meaning in our collective imaginary is not proper to describe a knowledge creation process in Fashion. However, it is true that different users converge to shared contents and there are many co-existing shared contents between different communities of users at a certain time. Moving from a dominant design theory (ANDERSON; TUSHMAN, 1990) to a convergent design model (ABERNATHY; UTTERBACK, 1978), it is possible describe this situation through a wave evolution model, where each wave represents a peculiar content s dissemination cycle (see Figure 1). Figure 1 Wave evolution model for technological standards Rielaboration of Abernathy and Utterback s model by the author (ABERNATHY; UTTERBACK, 1978) Moreover, each wave can be represented as the interference of many waves, considering that a cultural content takes shape thanks to the interaction between expressions that generate these waves and which are the elements of cultural evolution that let various directions, concentrations and polarizations of innovation coexist (See Figure 2). 25

5 Figure 2 Wave evolution model for Fashion By the author So understanding how knowledge is created in Fashion means to understand which are the elements of cultural evolution that let various directions, concentrations and polarizations of innovation coexist. The anticipatory logic and the change issue of trend research are substituted by an evolving approach that states no monolithic standard rather than vector 2 of innovation : innovation is measured by a valuable content, a direction where to tent to and a higher or lower relevance in the context of reference. The description of these evolutive trajectories of innovation is set by four activities: Sources Selection and Activation; Context Exploration and Signs Grasping; Mapping and Interpretation; Representation and Visualization of the contents The last two activities are the ones that represent the knowledge construction process. Mapping all the grasped signs means to cross-reading them and create meaningful links among different elements in order to create design direction as probable visions. It is the definition of design guidelines that are shared and approved inside a research/creative community and, potentially, a users community. Keeping up with the evolution of the collective imagination in all its manifold expressions is an art that requires a profound knowledge of the context, interpretive experience, anthropological sensitivity and sociological imagination. In our pursuit of this activity over the last fifteen years, we have always combined an analysis of the global phenomena that, by having an enormous impact in terms of the media, have proven to be market Hits, with the identification of interesting niche-type cultural phenomena, Hot spots in the sense of hotbeds of change - rudimentary, perhaps sketchy 2 According to the definition, in Mathematics & Physics, a quantity having direction as well as magnitude, especially as determining the position of one point in space relative to another. (WORDREFERENCE.COM) 26

6 signals but still significant indicators that help interpret the socio-cultural evolution through a meaningful accumulation of stimulating hot leads, so to speak. (FUTURECONCEPTLAB.COM) Kjaer global is a leading force in innovative futures and trend concepts - they are experts in their field. Their trend forecasting methodology is truly unique. A key tool in our work is the Kjaer global multidimensional platform and our Trend Atlas - linked in our Lifestyle Navigator. These holistic tools seek to integrate a new way of thinking. (KAJER- GLOBAL.COM) Work method unique to the NellyRodi office, Marketing-Style associates creative strength with the marketing and sociological analysis of consumer behavior. This three-dimensional approach enables us to put our product recommendations into perspective and explain the emergence of fashion trends. (NELLYRODI.COM) The final goal is not the description the tangible dimension of a context but the comprehension principles and motivations that are driving this context in order to be able to design its own evolution. According to this interpretation, if research phase is a selection in a complex environment and a density of contemporary sign, then the design phase is an imagination s interpretation, a codification of selected signs and a creation of images, visual representations that let this density to be intelligible. It is the definition of guidelines approved by the creative group. The process ends with the results communication thanks to visual representations. The visualization process is a taming process : by symbolic linguistic techniques, anchorage processes take place and let far away, the new be nearer, known, domestic, familiar and, consequently, comprehensible and acceptable. This full closeness to the domestic enclosure refers to meanings systems, which are historically and culturally stratified. (MOSCOVICI, 1989) Thus, products are a kind of visual encyclopedia of the culture of reference. The trend book, as a static and closed tool, is substituted by a visual encyclopedia, an open and in progress work. The notion of collection is substituted by the idea of edition, in relation to an evolutional framework. The classic structure of a trend book is fulfilled by the integration of all the sources in order to making the research process explicit. This aims to explain the selection criteria and to obtain more confidence. All the supporting evidences are organized through a story telling. The objective is not just supporting the user but also let him be able to browse among all the contents and sources and having the possibility or to consider the proposed solutions as it is or to choose autonomously the relevant elements through its own identity-making filter. A conceptual topographical map substitutes the typical files of a trend book. Its isometric curves represent stratifications of sources and meanings that well express the multidimensional evolution of contents (See Figures 3, 4, 5). 27

7 Figure 3 Comunità Utopiche Topographical Map 1 Design Atlas 2010 by Politecnico di Milano. Fashion Research Unit. INDACO Department Figure 4 Comunità Utopiche Topographical Map 2 Design Atlas 2010 by Politecnico di Milano. Fashion Research Unit. INDACO Department 28

8 Figure 5 Comunità Utopiche Sources Design Atlas 2010 by Politecnico di Milano. Fashion Research Unit. INDACO Department In the end, if only design orientations are shared through their visualization and they are consequentially acknowledged in the role of representation of a certain moment, then the following design phases (use of the contents, their re-configuration and their contextualization in a new item) take place. Only shared research contents can be transformed into products thanks to an internal design process. Knowledge transfer does not occur through a data codification or through the development of a model but thanks to the creation of meaning for the entire value chain. The suitability of the research activity, agreeing to the values of the context of reference and assuming them as milestones, is confirmed by the consensus of the entire system. 3 Conclusion Referring to the aim of Fashion, in the role of cognitive phenomenon, to express contents subtended to a culture (EVANS, 2003), the Design Directions interpretation is effective to describe evolutional dynamics in aesthetic styles, consumption habits and socio-cultural attitudes that cross contemporary markets and society. In fact, a design direction describes social communities, shared practices, relational and communication sets in order to prefigure life s scenarios, products and customs to orient the design process. It is remarkable to highlight that, in Fashion, there are other tools to progressively harmonize and socialize new contents along the chain. Each design and productive step is verified and shared by the proper department/stakeholder. In fact, prototypes are showed to the commercial department in order to merge design and marketing instances; the fashion show is the new collection s preview for press agents; magazines and shops visual merchandising negotiate new contents with the customer. All these instruments orient the design process and, above all, the production. 29

9 A negotiation on presence is the key factor. Thanks to meetings, the information transfer is quick, cognitive distances are reduced and all the contents are easily processed, with a feedback in real time. The relational dimension is really important in Fashion. In spite of this, Fashion still misses a direct and active interaction between researchers and designers and between research contents and the final user, on a creative level. As this paper states, a proper research activity can cover the gap between concertation tables 3 (GOLFETTO, F. et al.) and catwalks. But research activity and outputs do not have a plug-and-play dimension anymore, especially if they are externally developed. So how does a Fashion company use these research outputs? The question is still open. While Fashion industry is still trying to codify some praxis, such as design workshops, design-oriented sectors, such as furniture, have already developed some experiences. During the Milan Furniture Fair, the most important international companies present not only new collections, but also in progress concepts that visitors test with a supporting setting and explanation. Moreover, the user centered design approach has been widely developed since many years. A different situation is spontaneously emerging in the WWW. As Fashion seems not to be well represented by magazines, photo-blog, such as The Sartorialist.com by Scott Schuman, have been founded to show how common people and fashion insiders experience fashion and, above all, to let them discuss and interact, breaking hierarchic relations. On the other hand, in a continuing cycle, blogs and web communities are fundamental sources for an up-to-date research. This contemporary digital version of the dialectics between bottom-up and trickle-down approaches is based on an immediate relational dimension that is typical of the Web. This highlights again the importance of the participatory factor, especially in the research phase. In the end, the research question is still the same: after a knowledge transfer from a metadesign phase to a design one, how can knowledge creation be described? 3 It refers to trend concertation practice, established by Premiere Vision in

10 4 References ABERNATHY, W. J; UTTERBACK, J. M. Patterns of industrial innovation. Technology Review, v. 80, n.7, p. 40-7, ANDERSON, P.; TUSHMAN, M. L. Technological discontinuities and dominant designs: cyclical model of technological change. Administrative Science Quarterly, 35, p , BARILE, N., Manuale di comunicazione, sociologia e cultura della moda. Roma: Meltemi, v. 1. BARTHES, R. Il sistema della Moda, Torino: Einaudi, CAPPETTA, R.; PERRONE, V.; PONTI, A. Competizione economica e competizione simbolica nel fashion system. Economia & Management, 2, DAVIS, F. Clothing and fashion as communication, In: SOLOMON, M. R. The psichology of fashion. Lexington: Lexington Books, DE BONO, E. Creatività e pensiero laterale. Milano: Rizzoli, EVANS, C. Fashion at the edge: spectacle, modernity and deathliness. New Haven/London: Yale University Press, FIORANI, E. Moda, corpo, immaginario. Milano: Edizioni POLI.Design, GOLFETTO, F. et al. Consocia et impera: how french and italian fabric producers cooperate to conquer the "dominant design" in the fashion industry. In: GIBBERT, M.; DURAND, T. (Ed.) Strategic networks. Oxford: Blackwell Book Series, p HESMONDHALGH, D. The cultural industries. London: Sage, KAISER, S. The social psicology of clothing: symbolic appearance in context. New York: Macmillan College Publishing Company, Inc., LOESCHEK, I. When clothes become fashion: design and innovation systems. New York: Berg, MOORE, G. A. Crossing the chasm. Marketing and selling high-tech products to mainstream customers. New York: Harper Collins Publishers Inc., MOSCOVICI, S. Rappresentazioni sociali. Bologna: Il Mulino, POLITECNICO DI MILANO. Fashion Research Unit. INDACO Department. Design Atlas Milano: Applied Research Eurojersey S.p.A., SVENDSEN, L. F. H, Filosofia della moda. Parma: Guanda, VEJLGAARD, H. Trend. Capire oggi ciò che farà tendenza domain. Milano: Etas, Biographical Notes Chiara Colombi PhD in Design, Assistant Professor in Fashion Design at Politecnico di Milano INDACO Dept. Her research interests concern research methods and tools in trends research and management processes for product/service development for a fashion collection. Twentieth ADI Compasso d Oro Award - Young Design (2004), Visiting Researcher at FIT - New York (2007) and Visiting Professor at ISS Melbourne Institute (2008). Professor in studios focusing on metadesign process in fashion, she is also faculty s member of Fashion 31

11 Project Management Master at Milano Fashion Institute. Involved in international research projects and consultancies, she is developing her activities particularly in Brazil and USA. address: 32