Contemporary Considerations
Trends versus Paradigms in Fashion Cycles Equal to Niche Markets: A Genderless Clothing Approach View Digital Media
Paper Presentation in a Themed Session Benilde Reis, Madalena Rocha Pereira
It is inevitable to mention the fact that fashion is changeable. Just as fashion codes are changeable, gender has been continuously recreated and evolving. All products have a life cycle, and fashion products are no different in this respect. When it comes to fashion and its creation, looking back (in terms of what has already been done) is always part of it. Usually, everything we wear nowadays was once a trend in another decade of the past. The fashion life cycle is the length of time that a particular style or look is widespread, and this can vary, as we will confirm later. Fashion changes because the zeitgeist changes, meaning the spirit of the time changes. Fashion exists where the social system is fluid. In this way, genderless clothing is undoubtedly a reflection of our time because we are going through a time when, socially and politically, the fight for equality between the sexes is remarkable, influencing fashion designers to develop genderless clothing. As far as niche markets are concerned, these can also be part of fashion cycles. This is because, although they do not reach the masses, they have some impact as a niche market, which is notable through designers and brands that are successful in this market.
The Good, the Ugly and the Sublime: Good Designing is Good Ethics View Digital Media
Paper Presentation in a Themed Session Paolo Grazioli
Designers make ideas become tangible artifacts through the process of creation that transforms them into a tangible creation, through the use of artistic, technical and cultural skills. It is the moment when the idea is Platonic Real of Forms and brought on, as imperfect object, to the world. It is the act of creation of the visible from the invisible, which represents the artistic endeavor of the designer that, for the first time, creates forms that are combined with a meaning. Plato introduced the phrase “καλός καί ἀγαθός” (kalós kaí agathós) to describe an ideal level of “goodness” that is represented by the noun “Kalokagathia”, a crasis between the words beautiful (καλός, kalós), and good (ἀγαθός, agathós), which is translated as “beautiful and good”. The ”Agathos” (good) of Kalokagathia is much more than functionality (how comfortable a chair is for sitting, or a knife for cutting, or a pen for writing): it rather refers to an ethical excellence that ensures the good of all citizens. Superior products possess this special ethical excellence through the combination of Kalos and Agathos.
Material Manipulation and Illusion in Interior Design View Digital Media
Paper Presentation in a Themed Session Ingrid Schmidt
This paper explores the intersection of materiality, illusion, and interior design through the lens of my practice as a custom textile and surface designer. By focusing on large-scale works that incorporate innovative techniques, the study delves into how materials can be manipulated to create visual and tactile illusions, blurring the boundaries between reality and perception. Drawing on historical examples from art, technology, and design—such as trompe l’oeil in Renaissance painting, the illusionary effects of Rococo interiors, and the use of synthetic materials in mid-20th-century design—this study demonstrates how these age-old methods continue to influence contemporary practices. Specifically, I showcase projects where surface treatments, textiles, and layering techniques are used to create dynamic, multi-sensory environments. These works not only challenge the viewer’s expectations but also engage them in a deeper conversation about the relationship between texture, light, and space. By examining the broader historical context, we can better understand the role of illusion in interior finishes, from early examples of optical deception in decorative arts to modern-day digital and material manipulations. Ultimately, the paper seeks to highlight how today’s interior designers can leverage material trickery to create immersive, compelling environments that invite new ways of seeing and experiencing space. The discussion concludes with insights on how material innovation continues to redefine the possibilities of interior design in a rapidly changing world.
