A proposal to apply sustainability to education and professional practice

Abstract

Higher education institutions have a responsibility to contribute to a more sustainable development. However, this contribution hasn’t always been consequential, especially when the focus is more on the construction of mere tools for sustainability, than on the process of internal transformation. That is, on the development of a true training for sustainability, consequently for a curriculum more oriented towards sustainability and with valid contributions for sustainable development, namely in the regions where they are based. On the other hand, ecodesign analysis tools, namely checklists, have been used successfully in companies, but also in education, and have made an important contribution to sustainability, fundamentally in the environmental and economic dimensions. Consolidated experiences in these areas have shown that employing these tools implies a contextualization of their use, in the case of their application in a teaching context, among students, or in a business environment, among professionals. It depends on the social, economic, and business context of the region or country, but, in the specific case of an application in education, it also depends on the type of subjects and the teaching and learning methods.

the experience of digital OCTA Fashion

Abstract

The Covid-19 pandemic has accelerated the digitalization of fashion's creation, production, communication, and consumption. The standards of social isolation and the closure of airports made it impossible to hold in-person fashion events. In such a scenario, brands and designers found solutions to launch their collections. At the University of the State of Santa Catarina, the impossibility of returning to in-person activities led to the promotion of the graduation show, OCTA Fashion, digitally. This article presents an experience report of the organization and the execution of the event OCTA Fashion, demonstrating how tasks were divided into work teams. As a result, the fashion film was launched in December 2021

A collaborative project between ESAD and Pedro Hispano’s Hospital of Matosinhos

Abstract

Health services, in particular pediatric units in a hospital, are increasingly committed to human well-being, on the one hand by researching more effective treatments, on the other hand by promoting emotional well-being for their patients, caregivers and professionals. The investment in making hospital environments and services more humane is evident in several studies and projects disseminated around the world. Even so, and despite these efforts, most people continue to have a negative feeling when they think of a hospital. For an institution whose main objective is to preserve and restore health, a negative impression or a feeling of discomfort can be seen as a factor of stress that does not contribute to the patients’ quick recovery. Although fear or stress reduction values are difficult to quantify, empirical evidence shows that there are intangible factors crucial for the patients’ recovery and well-being ¹.

Abstract

Industrial design intended as cultural heritage is witnessing a period's industrial production and creative thought; this legacy needs to be shared with a broader audience. The Milan area is full of studios and ateliers, where most Italian design projects were born. Even though they are no longer operating, these locations are still linked to the creative process and convey the atmosphere of the golden age of Italian design. Design research is essential in investigating archives' potential in constructing historical narratives and new research paths and learning tools. The paper describes two case studies for enhancing Design Culture through digital technology. A digitisation project for the archive of the famed Italian modeller Giovanni Sacchi to link heterogeneous data – sketches, technical drawings, images, physical models – to create an overall view of the design process and highlighting the creative thought. The second describes LfAC, a mobile location-based application designed to lead visitors to discover Achille Castiglioni's projects in downtown Milan: works are valorised and brought back to life through contextual contents delivered to visitors' smartphones.

Abstract

Few studies related open design to the clothing sector, but none explored how users would experience it. The study reported here aimed to investigate how people with some or without prior sewing knowledge - advanced and amateur users – experience an open design-clothing product. Following four fashion design heuristics, a garment was created and distributed as DIY kits among advanced and amateur users. Data were collected in two stages: assembly and personalization. The results indicate that although skills play a significant role during assembly, other factors, like cross-generational differences and personal taste, influence how users experience an open design product. Furthermore, the study shows that given the necessary support, the open design can be used by a heterogeneous public, amplifying the participation of users with little or without prior sewing skills in clothing co-creation.

Abstract

The present pages intend to discuss the history of art history. In order to reach the desired objective, it starts with the first texts written in Antiquity. Then, the painting treatises written from the 14th century onwards and the inaugural text of the history of art that was “born” in that Renaissance were discussed. Then, the methodological changes established by Johann Joachim Winckelmann, in the 18th century, were mentioned. From the 19th century, the openings proposed by Alois Riegl and Aby Warburg were highlighted. Of the many relevant art historians of the 20th century, the concepts defended by Erwin Panofsky, Heirich Wölfflin and Ernst Gombrich were prominent. Finally, the current historiographic changes undertaken by two noticeable names were indicated: Hans Belting and Georges Didi-Huberman.

A critique contribute to a specific type of “aerial” object

Abstract

Very specific areas of design engage all efforts to give an everyday life environment to the artificial ambience on board an airplane. The choreographed reception (and farewell) by the crew at the cabin door, or the ambience that surround us during flight are examples of that humanization applied to a culturally artificial and aseptic space. The meal is one of those instances that, besides satisfying the need for food, accomplish simultaneously a comforting moment and a disciplinary function. The service choreography and the objects that surround its stages are covered with unique technical, functional and symbolic values that differentiate them from regular meals at ground level. We paid a visit to the on-board environment of Portuguese airplanes during the incipient 40’s and 50’s until a more open and mature design attitude during the 80´s.

A study of the Gucci Off The Grid advertising campaign

Abstract

This paper is configured as a part of the final work of the Fashion Design Degree from the University [omitted for blind review]. It aims to examine the phenomenon of transmedia storytelling as a strategy for fashion communication in the pandemic context. The methodological design included a literature review, and the analysis of the campaign of the first line of sustainable products of the Italian brand Gucci, called Gucci Off The Grid, from the perspective of the convergence culture and based on the seven principles of the transmedia storytelling formulated by Jenkins (2009). As a result, it was verified that the analyzed campaign built storytelling broad enough to be explored in more than one media, successfully relating most of the principles of transmedia storytelling. However, it was noticed that Gucci could have explored, with more emphasis, the interactive authorship of the public, encouraging the sharing of storytelling on social networks.

Abstract

The word ‘genderless’ carries a cultural and social burden that hasn’t bestowed upon the general audience nor some of the most spoken about brands in the world. There have been top tier designers that have dipped their toes and tried to show a world without binary gender boundaries, but the message is still not accurate. If fashion design seeks its roots in the lifestyle of the beholder, than what lifestyle are some brands representing by showcasing their genderless ideas as neutral, basic and shapeless designs? Fashion is the art through which people can express themselves, but there always seems to be a limitation. The younger generations are questioning those limitations and establishing that we can wear what we want, as long as it’s representative of the gender we feel most, or not at all. There has been a surge of the word ‘genderless’ and several well-established brands are using it to promote, of what can only be pointed out as their marketing agendas. It’s important to understand that most of these brands haven’t done their homework and they haven’t talked to the people who actually go through the experience of a non-binary reality. The problematic isn’t necessarily the use of the word ‘genderless’, it’s the appropriation of the experience of people who aren’t even a part of the conversation. The present paper wants to explore how genderless seems to have become a label and a marketing move for brands and designers to try and engage with yet another audience. But also an exploration of how that is failing, especially when it comes to communicating and relating to the everyday experiences of people who live beyond the binary. Through contextual inquiries and personal interviews, we intent to dive into this experience of the world, with the positives and negatives, trying to sort if genderless is just a trend, or something else entirely. 

A Design and Engineering intention?

Abstract

The relationship between Design and Engineering has not its genesis in the 20th century. But it was in this century that the advantage of this association was perceived and came into existence. From the beginning of mass production in the early twentieth century came the need for bringing the two disciplines together: Design and Engineering.

a world of fantasy and tears

Abstract

Mourning or memorial jewelry constituted one of the most emblematic traditions of death rituals in the cultural history of Great Britain since medieval times and even earlier. They symbolized the power of the human mind and soul to face death, to honor the memory of the dead and to keep it alive and intact in time and during the great challenges of life. Since the end of the eighteenth century and during the long nineteenth century, in addition to being indicative values of the cultural and social development of the English people, they constituted symbols that defined the concept of social order. They also became important fashion objects as they represented thoroughly the royal court mood and reflected its preferences, temper and taste. This research focuses on the importance of different types and symbolism of mourning jewelry in late Georgian and mid to late Victorian Britain. Through the magnifier of the historical, cultural, artistic and technological changes of the time the author examines and comments on the roles of the royal court and mainly on Queen Victoria’s personality in enhancing and even reshaping the idea of mourning customs within which Memento Mori and memorial jewelry thrived.

Toward an Archive of clothing patterns in Pompeii

Abstract

The study of the Pompeii clothes, representative of the wider Roman culture, is carried out starting from the graphic analysis of the classical iconography of the MANN (National Archaeological Museum of Naples) in comparison with historiographical sources, by means of the representation of the main patterns of women's clothing in use by the Romans and their respective decorative and chromatic motifs, also in relation to the fibres of which the fabrics were made. This study, which also makes use of data obtained from the photogrammetric survey of a selected number of textile finds belonging to the "MANN Textile Collection", provides an unpublished archive of the main clothing patterns, codifying in technical drawings (paper patterns) the unconventional rules that the ancient Romans at that period used to make clothing on the basis of knowledge, practical experience and customs (dressing rituals) specific to the culture of the time. The flat development of each clothing patterns is entrusted to the geometric accuracy of the paper pattern, is proportionate to the anthropometric measurements of the woman of the Roman age (female normotype) and represented to scale.