Aesthetic Fashion Research Articles

Applying User-Centered Design Principles to the Development of Wearable Technology in Fashion Design

This paper explores the integration of user-centered design (UCD) principles into the development of wearable technology within the fashion industry. As wearable devices become more prevalent, the necessity for these products to not only serve functional purposes but also align with fashion aesthetics and user preferences becomes increasingly critical. This study provides an extensive overview of the historical development of wearable technology, highlighting key shifts from basic functional devices to advanced systems that merge seamlessly with user lifestyles and fashion choices. Through detailed case studies of products such as the Apple Watch and Fitbit, the paper illustrates the successful application of UCD principles, emphasizing customization, health monitoring, and interactive user engagement. It also discusses various design methodologies, including Human-Centered Design, Agile Development, and Sustainable Design, and their roles in addressing both user needs and rapid technological changes. Furthermore, the paper examines the challenges faced by designers, such as device miniaturization, aesthetic integration, and privacy concerns, alongside opportunities for innovation in health monitoring, sustainable practices, and augmented reality. The study underscores the critical importance of UCD in enhancing user acceptance and market success, advocating for continued research and cross-disciplinary collaboration to foster innovation in wearable technology.

"Girl Math, Boy Math": The Presence of Toxic Masculinity in TikTok and X Jargon

Jargon or slang words have become a norm in everyday online discourses and conversations, with a recent emergence of gendered terminology classifying activities and fashion aesthetics into a type of “girl” or “boy”, both heavily popularized thanks to social media. A notable example is seen in the recent rise of gendered-specific jokes called “girl math”, which is a comedy created by women on the justification of impulse shopping. This phenomenon began to give way to its counterpart called “boy math”. Initially, mockery on male behavior began to expand into the areas of critiquing toxic masculinity and misogyny in society as a whole. Through sampling data from accounts that receive high traction from using such terms on the platforms of X and TikTok, the researcher is interested in conducting an intertextual research using the framework of appraisal and feminist theory in order to elucidate the linguistic nuances and cultural influences stored within these gender-specific terms, ultimately unveiling how they critique male hegemony. This research is hoped to contribute to furthering the understanding of how technology, social media, and language intersect, shaping both learning environments and societal perceptions of gender roles.
 Keywords: X, TikTok, appraisal theory, language evaluation, misogyny, toxic masculinity

Gaussian process model based restoration of damaged Buddha statue head

Buddha statues are distributed worldwide, and each piece reflects the aesthetic fashion of a particular region and historical era. Therefore, these sculptures have important cultural, aesthetic, and historical value. Owing to natural or artificial destruction, several Buddha statues have been damaged, with head or facial damage being the most prominent damage type. Because Buddha statue heads exhibit intricate variations in facial expressions and proportions, restoring head or facial damage is the most challenging aspect of damaged sculpture restoration projects. This study provides a new method for the restoration of damaged statues based on a Gaussian process model. The Gaussian process model entails a type of statistical shape modeling that allows it to learn shape distribution properties from a training dataset. During the restoration process, we used the residual parts of the damaged shape for the observations and added them to a Bayesian inference system to obtain the possible restoration result in the form of a posterior distribution. Therefore, the proposed method can be regarded as a quantitative mathematical representation of the subjective deduction process. Compared to those of the traditional manual restoration method, our results were more repeatable and stable, and the restoration process was automatic and rigorous, which reduced the requirements for professional knowledge and experience. Based on the learned model information, the proposed method exhibits strong robustness and anti-noise properties. In contrast to the optimization method, our final restoration result is a probability distribution, applicable to the repair of cultural relics. As our method make the missing shape inference using residual shape information and the regularity learned from training dataset, it is suitable for the restoration of damaged parts with no direct shape evidence. Finally, our model is generative; in other words, we can generate shapes on the posterior distribution and provide the corresponding probability. To demonstrate the effectiveness of our method, a series of experiments were conducted to restore damaged parts under different parameters and damage type settings. Subsequently, a quantitative analysis was performed. Finally, we applied this method to the virtual restoration of a damaged Buddha statue head in Xi 'an Museum.

TEPAK CIWARINGINAN PADA SENI PENCAK SILAT DI KOTA BANDUNG

Pencak silat is a martial art of Indonesia's cultural identity that 
 has been designated by UNESCO as an Intangible Cultural 
 Heritage. Pencak silat in West Java is not only categorized as a 
 martial sport, but also as one of the arts. Pencak silat in the context 
 of performing arts is often called Kendang Penca (from the 
 perspective of musical aesthetics) and Ibing Penca (from the 
 perspective of dance aesthetics). The focus of this article is to 
 describe the variety of tepak ciwaringinan patterns in the pencak 
 silat family in Bandung. The consideration is that these songs and 
 tepak no longer appear in every kendang penca performance, it can 
 be said that their existence is starting to become extinct. In this 
 article, the author uses a qualitative approach from Jhon W. 
 Creswell by collecting data through observation, documentation, 
 and interviews. After the data is obtained, the author then analyzes 
 the data to test the truth of the data.
 This article discusses an overview of pencak silat as a performing 
 art, the musical accompaniment of pencak silat in Bandung, and a 
 description of the Ciwaringinan tepak pattern in pencak silat. The 
 article concludes that pencak silat is one of the most important 
 aspects of the performing arts in Indonesia, especially in West Java. 
 Aesthetically, pencak silat generally consists of the aesthetics of the 
 Pencak Silat dance form (ibing penca), music aesthetics 
 (karawitan), and traditional fashion aesthetics. In addition, the 
 findings in this study are that there are a variety of Ciwaringinan 
 tepak patterns that have not been recognized by the public.

Fashion Aesthetics in Contemporary Arab Sculpture

The art of sculpture in the Arab world formed a solid foundation in the field of art through the various sculptural products presented by Arab sculptors in employing art through which they contributed to the reflection of the cultural heritage due to the forms, symbols, images, forms of clothing and their external formal influences that were included in their works, which reflected the aesthetics of fashion in Arab sculpture. Contemporary, which necessitated highlighting the knowledge of its aspects from the cognitive, social, artistic and cultural aspects, and the connotations expressed by the Arab sculptor in dress, and to know the cultural value and employ it in the sculptural work, through which it is possible to differentiate between one country and another in terms of culture, traditions, and knowledge of the segments of society that were the basis for the variation in people's daily lives. The current research includes four chapters, the first chapter of which includes the research problem, which becomes clear through the following question: What are the aesthetic values ​​achieved by fashion in contemporary Arab sculptural work, as well as the importance of research and the need for it, which lies in the fact that it represents a reflection of the aspects of traditional Arab life. The current research aims to identify the aesthetics of fashion in contemporary Arab sculpture. The research is limited spatially to sculptural works in the Arab world, temporally from 1950 to 2020, and objectively by studying sculptural works that reflect the aesthetics of contemporary Arab fashion.

Application of 3D visual perception-driven design of velvet flowers in traditional dresses

Abstract This paper firstly analyzes the specific application of velvet flowers on women’s dresses from the perspective of fashion aesthetics and with the understanding of the background and development trend of dresses. Secondly, based on 3D visual perception, we propose the optimization of the normalization method and loss function optimization, which can improve the migration speed and generation quality of velvet flower design, and then seamlessly fit it to the dress base map by Poisson fusion to realize the intelligent design of velvet flower in dresses driven by 3D visual perception. Then, the color features and attributes of the floral in the dress are studied, and the HSV color space model is used to extract the high-frequency colors and attributes of the dress. Then, the floral design is digitized, and the dress design is driven by 3D visual perception is studied and analyzed. The results show that the loss value of the dress design style migration network trained based on AdaN is the smallest, and the loss value is reduced by 0.19 compared to the dress design style migration network using IN and 0.31 compared to BN. The velvet flower design on the dress design base map can be implemented based on the foundation provided by this study.

Ulos Batak Toba: Makna Religi dan Implikasinya pada Peradaban dan Estetika

This research is discussing Toba Batak ulos whose application has been widely spread, not only among Batak tribes but also all over Indonesia and worldwide; especially since Hutaraja Ulos Village, Samosir Region, North Sumatra was launched. With the use of qualitative methodology, a phenomenological approach is used to find out the religious meaning of Toba Batak ulos which is integrated in garnish, colors, and the weavers. The garnish of ulos refers to the intention of the application of ulos so that it meets the wish of the giver and receiver of the ulos in accordance with its bestowed religious meaning. The colors of ulos which intrinsically flow on each ulos yeast symbolize the presence of God. The weaver as the creator of the ulos is also envisioning ulos religiosity. The transformation of ulos religiosity is revealed in the social culture which indicates the civilization concerning Toba Batak traditions and customs. Moreover, ulos religiosity is also affirmed in fashion aesthetics which has been implemented from the very beginning of the creation of ulos up to these days: we have to wear, implement, appreciate, and honor the virtues in our lives. Obviously, Toba Batak ulos has high religious and social values to unite the divine–man, man-divine, and man-man dimensions.

USE OF OZONIOTHERAPY FOR SUBMENTONAL FAT REDUCTION

USE OF OZONIOTHERAPY FOR SUBMENTONAL FAT REDUCTION

What’s in the box? Preference for leftward plating of food in bentos

IntroductionOptimizing the aesthetics of plating and understanding where certain elements of the dish should be placed within a bento box will aid chefs and advertisers in learning what side of dishware plating creates the most appetizing appearance to the average diner. Previous literature led us to predict that there would be a leftward bias of plating the largest, most caloric heavy component of the meal on the dish. MethodsCanadian participants (n = 204 and n = 279) were presented photographs of single-tiered bento boxes and their mirror image together to elicit and record preferences. Sixty image pairs were presented simultaneously (with one of the images located directly above the other) in random order, and decisions between leftward and rightward biased choices were collected and analysed. The majority of participants were right-handed and had a native reading direction of left-to-right. ResultsParticipants in both experiments preferred asymmetrical bentos where the majority of the food was plated on the left side of the box, gravitating to a leftward bias. Age and native reading direction were additionally analysed, where regardless of either demographic, left side plating was preferred. ConclusionLearning how we can optimize plating aesthetics can benefit people in a variety of vocations (e.g. chefs, advertisers, photographers, etc.). It appears that regardless of age or native reading direction, a leftward plating bias is evident when it comes to arranging a bento in the most aesthetic fashion.

Eco-friendly scouring of cotton knit fabrics with enzyme and soapnut: An alternative to conventional NaOH and synthetic surfactant based scouring

Eye-catching, aesthetic fashions often suppress its untold dark story of unsustainable processing including hazardous wet treatment. Considering the risks imposed by conventional cotton scouring and following the trend of scouring with enzymes, this study was undertaken to evaluate the bioscouring of cotton knit fabric involving saponin-enriched soapnut as a natural surfactant, applied from a bath requiring a few chemicals and gentle processing conditions, contributing to the eco-friendliness. The proposed application was compared to synthetic detergent engaged enzymatic scouring as well as the classic scouring with Sodium hydroxide. A cellulolytic pectate lyase enzyme (0.5%–0.8% o.w.f) was applied at 55 °C for 60 min at pH 5–5.5 with varying surfactant concentrations. A low concentration of soapnut extract (1 g/L to 2 g/L) was found sufficient to assist in the removal of non-cellulosic impurities from the cotton fabric after bioscouring with 0.5% o.w.f. enzyme, leading to good hydrophilicity indicated by an average wetting time of 4.86 s at the expense of 3.1%–3.8% weight loss. The scoured fabrics were further dyed with 1% o.w.f. reactive dye to observe the dyeing performance. The treated samples were characterized in terms of weight loss, wettability, bursting strength, whiteness index, and color value. The proposed application confronted level dyeing and the ratings for color fastness to washing and rubbing were 4–5 for all of the samples scoured enzymatically with soapnut. The study was also statistically analyzed and concluded.

Exploring commonly used terms from online reviews in the fashion field to predict review helpfulness

Online shopping for fashion products is a challenging process for consumers. Although customers can facilitate purchasing, review content and helpful voting systems can be unreliable. This study aims to apply linguistic approaches on term recognition to identify and extract frequent terms in fashion reviews and predict their helpfulness. Features are chosen using the latent Dirichlet allocation (LDA) model for topics, bi-grams using the term frequency- inverse document frequency (TF-IDF) vectorizer and topics plus bi-grams using the TF-IDF vectorizer. The feature sets are then used to train four supervised algorithms on an imbalanced dataset to highlight the model performance. Models are validated using a dataset of 828,700 customer reviews collected from Amazon Fashion platform. The experimental results show that choosing LDA plus n-grams using the TF-IDF vectorizer for a random forest classifier outperforms the other models, with an accuracy of 0.81 and an F1-score of 0.78. Furthermore, the study indicates that reviews describing fabric quality, trend and fashion aesthetics, size details, price, and return experience are more helpful. Using the results, customers are made aware of how to narrow their search terms and retailers can optimize their review system more intelligently, especially on the first page of a product's description.

Wabi-sabi Style: the Collision of the East and West, the Combination of the Fashion and the Nature

In the past fifty years, Japanese fashion as one of the most prosperous Asian fashions has become a legend in the world fashion field through its special oriental design that breaks the fashion aesthetics with the West as the mainstream in the past. In recent years, wabi-sabi style has become a new fashion trend. As sustainable fashion is advocated by more and more people, the ecological concept wabi-sabi aesthetic holds also accords with the eco-fashion tendency. This paper aims to study the wabi-sabi style in the fashion field, which includes its power to collide with the fashion world dominated by the West, and its ecological function. First of all, this paper compares the aesthetic, religious, and women's fashion history of the wabi-sabi style and the western style. Then, it investigates the fashion collision between the East and the West in terms of design concepts and analyzes the inspiration for the wabi-sabi fashion style. What is more, this paper also integrates the wabi-sabi style and eco-fashion to analyze its positive impact on the environment. Ultimately, this study suggests that although the wabi-sabi style has a minimal influence in the fashion field, it will have a promising future for its sustainability and the comfort it renders to the secular life. The result helps to promote the wabi-sabi style, making more people know about this style and think deeply about their attitude to their lives, and grabbing more attention to wabi-sabi fashion for its environmentally friendly function.

Research on Cultivating Students' Creativity in Fashion Design Teaching

With the change of the times, people's living standards are getting higher and higher, so more people have their own aesthetic and requirements in clothing, which means that today's clothing design needs more innovation and fashion. In recent years, China-Chic is also a new trend of the development of the times. More and more Chinese brands have begun to rise, which constantly reminds fashion designers of the need to explore Chinese traditional culture, and the need to integrate traditional culture and fashion design. Under such a background, if you want to cultivate more excellent talents in fashion design, when teaching fashion design, you should also pay more attention to the cultivation of students' creativity, so that students can integrate traditional culture in fashion design, so as to improve the originality, epochal and trendiness of the works they have designed, and better meet the requirements of contemporary people for fashion aesthetics and fashion design.

Can Fashion Aesthetics be Studied Empirically? The Preference Structure of Everyday Clothing Choices

Despite fashion being one of the most common and accessible aesthetic activities in everyday life, very few empirical studies of clothing selection and preferences exist. To address this empirical gap, an online survey of 500 participants was constructed. A four-factor preference structure, Everyday Clothing Preference Factors (ECPF), emerged, consisting of essential, comfortable, feminine, and trendy styles. Further analysis revealed the preference for each of these four factors to be associated with clothing colors and individual differences. The transferability of ECPF across three preference judgment types (clothing one likes and owns, clothing one likes but does not own, and clothing one owns but does not like) revealed the robustness of the preference structure, through which a short version of ECPF was created. The paper concludes by discussing the implications and impact of scientifically studying fashion as an object of aesthetics and empirical study.

Practicing Decoloniality

Practicing Decoloniality

Identification Model of Writhing Posture of Classical Dance Based on Motion Capture Technology and Few-Shot Learning.

Chinese classical dance is cut into the inner verve from a grasp of external form in dance instruction, and the aesthetic fashion and artistic norms of classical dance are established with historical depth. The “professional specificity” of characters and the “language description” of plots are eliminated in Chinese classical dance creation, highlighting the contemporary spirit of classical dance creation. Chinese classical dance was born during the early years of the People's Republic of China. The term “classical dance” did not refer to all Chinese classical dances at the time; rather, it referred to a dance form that embodied China's national spirit and had a classical cultural heritage based on Chinese traditional dance. The average frequency of step-over was 0.9, which was higher than the average rate of basic turnover of 0.75 and step-by-step turnover of 0.5, according to the results of the SPSS19.0 analysis. As a result, except for a few points with loud noise, it can be concluded that stepping over is an effective feature. The recognition model of the somersault posture of classical dance is studied in this paper, a database for real-time acquisition of three-dimensional data of human motion is established, and the Google model of human body characteristics is obtained based on feature plane matching of human body posture, all using motion capture technology and few-shot learning. The above data has good reference and application value for improving teachers' teaching level and arousing students' learning enthusiasm in the dance teaching process when applied to posture teaching and analysis. The captured data can convert human motion in real three-dimensional space into data in virtual three-dimensional space. Motion capture technology converts human motion information into a technology that can be recognized by computers.

Space exploration inspiration for fashion styling and design in six decades since 1960: A review

Launch date of the first artificial satellite Sputnik 1 was on October 4, 1957, therefore it was commonly considered to be the starting year of the space age. Being inspired by the rapid developments in space and universe explorations, André Courrèges, Pierre Cardin and many other designers opened the frontier territory of the space-age era in the fashion community. From 1964, André Courrèges extensively used the white and silver metallic colours which soon became the definition of aesthetics at that time and was named Godfather of the space-age designer. On the other hand, Pierre Cardin demonstrated his early space-age work at the Paris Fashion Week in 1968 and was called the pioneer of the space-age fashion designer. For the six decades up to now, at least 15 fashion designers launched the so-called “Fashion communities’ interplanetary mission” in different years: André Courrèges (1964), Mary Quant (1965), Reed Crawford (1966, specialized in hat design), Pierre Cardin (1968), Paco Rabanne (1968), Thierry Mugler (1979), Issey Miyake (1995), Alexander McQueen (1995), Nicolas Ghesquière (2007), Hussein Chalayan (2007), Christopher Kane (2011), Raf Simons (2014), Donatella Versace (2016), Karl Lagerfeld (2017), Nicolas Ghesquière (second time in 2019, as the artistic director of Louis Vuitton) and Iris Van Herpen (2019). The purpose of this paper is to systematically and methodically review the inspiration and significant influence of space exploration and universe discovery on the fashion aesthetics, styling and design in six decades from 1960 to the current year. Major creative ideas included new colours such as silver, new materials such as metallic, new styling such as flying saucer, new patterns such as totems, and the use of new technologies such as 3-dimensional (3D) printing, with the most important considerations of noble, elegancy and aesthetics. Also, the feedback influence of the space-age fashion on the new generation SpaceX and Boeing suits is discussed.

A Summary of the Comparative Study of Lead-Glazed Pottery in Han Dynasty and Ancient Egypt

During the reign of Emperor Wudi of the Western Han Dynasty, lead-glazed pottery was successfully fired in China. Compared with previous pottery, glazed pottery was more suitable for use because of its advantages of low water absorption and high finish. However, in the world, the use of glazed pottery technology first appeared not in China, but in ancient Egypt, so there is also a saying that the lead glaze technology on the Han Dynasty pottery was spread from the western regions, rather than the invention of Chinese craftsmen. In this article, the author will try to make a comparative study and analysis of lead-glazed pottery in Han Dynasty and ancient Egypt from the aspects of process principle, product use and aesthetic fashion.

Dress like a Mum/Mom: Instagram Style Mums and the Fashionable Ideal

This paper explores whether the dominant fashion aesthetic is challenged or destabilized through the case study of Instagram style mums/moms. It considers how social media, such as Instagram, opens up new spaces for bodies to perform fashionability without the mediation of the fashion system. This space is potentially more “democratic,” allowing those located outside the fashion system to exhibit fashionability through personal style, presenting alternatives to the normative fashionable body. However, conversely, Instagram is also a space that is increasingly colonized by big brands and celebrity “influencers” whose accounts display similar aesthetics to mainstream fashion. By examining a range of mums/moms, not just celebrity or “micro-celebrity” accounts, the paper explores the creative display of style and explorations of their maternal body—outside the dominant fashionable ideal—to discuss how these women implicitly, sometimes explicitly, challenge the aesthetics of fashion. In articulating a “technique of the self,” this “mum style” opens space to navigate motherhood and fashionability at the same time. The aesthetic tropes of “mum style” are explored to unpack the contradictions and possibilities of this space.

Estructuras hechas con Arundo Donax como encofrado económico y ecológico para cascarones estructurales

Como en algunos otros idiomas, y a diferencia del inglés, el término Roofless (sin techo) se utiliza coloquialmente para referirse a las personas sin casa y sin recursos en Castellano; este termino enfatiza la importancia de estar a cubierto, de tener un techo que te proteja, y es muy indicativo de hacia dónde deben dirigirse los esfuerzos de los arquitectos e ingenieros interesados en las estructuras espaciales o de cascaron. En resumen, debemos buscar formas más asequibles de construir techos.Resulta que las cáscaras de hormigón cayeron en desuso debido a los cambios en las modas estéticas, los altos costes involucrados en las estructuras auxiliares necesarias para construirlas, y la impracticabilidad de los espacios generados.La clave para revertir estos tres aspectos negativos está en el encofrado.Este trabajo presenta la eficacia del uso de estructuras realizadas con cañas (Arundo Donax o Bambú) como encofrado económico y ecológico para hacer de los Cascarones estructurales un sistema constructivo más asequible y funcional. A través de los resultados obtenidos en la ejecución de una construcción de prueba.