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Recent research and artistic work:
Interaction & Fashion Design
The
challenge to further develop fashion design as an academic subject is
implicitly also a challenge to further develop fashion design research.
Although this clearly follows the general trend of developing design as an
academic subject at our design schools through the introduction of design
research, it is far from obvious what this means with respect to fashion
design. It is not only the strong focus on the expressional aspects of
design that makes fashion design a bit special, but also that it so
directly deals with expressing people rather than expressing function of
things.
As an empirical phenomenon fashion has been studied in a number of research
areas from studies in sociology to critical work in art history. But
academic research as to develop the practice of fashion design itself in a
systematic way is less prominent – this is in particular true for
fashion design aesthetics.
The research program referred to here is based on the idea that the
introduction of an interaction design perspective of fashion design will
provide a natural foundation for research. It is an interpretation that put
focus on the acts that defines wearing expressions and thus explains the
meaning of “expressing people” in terms of act design. To develop this
aspect of fashion design is then closely related to the development of
basic interaction design (“Formenlehre”) where an explanation of the
notions of “interaction form” and “interaction expression” is in focus.
There is a certainly a strong tradition of experimental fashion design
which constitute a practice somewhere in between art and practice based
design research, i.e. the haute couture tradition, anti fashion,
deconstruction fashion, techno fashion etc. But to further develop this
type of experimental practice in the direction of a more systematical
practice based design research there is a clear need for experimental work
with a more direct link to the issue of theoretical foundations. Not
experiments to test a given hypothesis, but experiments to interpret and
explore basic conceptual issues through experimental examples.
The Dark Room
Fashion Show
Visual
expressions are dominant in fashion aesthetics – we show fashion and
see the garment. The basic design aesthetics we learn within the regular
fashion design curriculum is all about spatial form and visual expression.
It seems somehow natural to train our perception of forgotten aesthetical
issues by bracketing this dominant perspective.
The Dark Room Fashion Show is a program for fashion shows presenting
fashion with a total focus on the sounds of garment in use; consider some
type of garment (defined with respect to wearing expressions), focus on
some fragment, some small detail of the given garment, try to describe the
sound characteristics of the fragment, the detail in question, design such
a fragment, such a detail as fashion with total focus on wearing
expressions as something we hear. Then “show” a given collection of fashion
garment fragments through a sound installation, expose distinctly fashion
as a matter of sound gestalt, refrain from all references to visual
expressions, work with live performances where the sound installation
performances substitute the visual acting of models in a traditional
“visual” fashion show. The experiment in question exposes a certain
expressional property of fashion design in terms of a sound installation
and thus represents an open presentation of an investigation. It is at the
same time a methodological exercise; what does it mean, from a methodological
perspective, to focus on sound gestalt in the fashion design process?
 
Publications:
Jontell
M., Mattsson U., Hallnäs L., Oralmedicinsk informationsteknologi i klinisk
praxis, In: Ellingsen J. E., Esmark L., Holmstrup P., Rohlin M., (eds.) Odontologi 2000, Munksgaard Copenhagen (2000)
Ali Y., Falkman G., Hallnäs L.,
Jontell M., Nazari N., Torgersson O. MedView – design and adoption of
an interactive system for oral medicine. In: Hasman A., Blobel B., Dudeck
J., Engelbrecht R., Gell G., Prokosch H. (eds.), Medical Infobahn for
Europe. Proceedings of MIE2000 and GMD2000, Amsterdam IOS Press (2000)
Redström J., Skog T.,
Hallnäs L., Informative art: using
amplified artworks as information displays. In: Mackay W. E., (ed) Proceedings
of DARE 2000 (Designing Augmented Reality Environments), Elsinore, Denmark 12-14 April (2000)
Hallnäs L., Redström J., Slow technology; designing for
reflection. Personal and Ubiquitous Computing, Vol. 5, No. 3, Springer (2001)
Hallnäs L., Jaksetic P.,
Ljungstrand P., Redström J., Skog T., Expressions - towards a design
practice of slow technology. In: Hirose H. (ed), Proceedings of Interact
2001, IFIP TC.13 Conference on
Human-Computer Interaction, July 9-13, Tokyo, Japan, (2001)
Skog, T., Holmquist, L.E., Redström, J., Hallnäs, L, Informative art.. In: SIGGRAPH 2001 Conference Abstracts and
Applications (Emerging Technologies exhibition) (2001)
Hallnäs L., Redström J., Abstract information appliances;
methodological exercises in conceptual design of computational things. In:
Macdonald, N., Mackay W., Arnowitz J., Gaver W., Proceedings of ACM SIGCHI DIS2002 (Designing Interactive
Systems), (2002)
Hallnäs L., Melin L.,
Redström J., Textile displays: using textiles to investigate computational
technology as design material, In: Bertelsen O. W., Bødker S., Kuutti K.,
(eds), Proceedings of NordiCHI2002, (2002)
Hallnäs L., Redström J., From use to presence; on the expressions and
aesthetics of everyday computational things, ACM Transactions on
Computer-Human Interaction (TOCHI)- Special Issue on the New Usability Vol. 9, No. 2 (2002)
Hallnäs L., Melin L., Redström J., A design research program for textiles and computational
technology, The Nordic Textile Journal 1/02 (2002)
Hallnäs L., Zetterblom M., Design
for sound hiders, The Nordic Textile Journal 1/03 (2004)
Hallnäs L., Interaction design
aesthetics – a position paper, In Olaw W. Bertelsen, Marianne G.
Petersen, Sören Pold (eds) Aesthetic Approaches to Human-Computer
Interaction, Proceedings of the NordiCHI2004 Workshop, Tampere, Finland,
October 24, 2004, DAIMI PB-572,
Department of Computer Science, University of Århus 2004 (2004)
Hallnäs L., The dark room fashion show, The Nordic Textile Journal 1/04 (2005)
Bergman M., Carbonaro S., Hallnäs
L., Thornquist C., Concerning design, CTF The Swedish School of Textiles, University College of Borås
(2005)
Berglin
L., Ellwanger M., Hallnäs L., Worbin L., Zetterblom M., Smart textiles -
what for and why?, Avantex 2005 (2005)
Hallnäs L., Thornquist C., Fashion design: world making - garment making,
The Nordic Textile Journal 2005 (2005)
Hallnäs L., Redström J., Interaction design – foundations and
experiments CTF The
Swedish School of Textiles, University College of Borås (2006)
Hallnäs L., On the
proof-theoretic foundation of general definition theory, to appear in:
Kahle R., Schroeder-Heister P. (eds.), Proofs-Theoretic Semantics, special
issue of Synthese, (2006)
Experimental
interaction design:
Björk S., Hallnäs L., Hansson R., Ljungstrand P., Melin L., Redström J.,
Abstract Information Appliances, Installation Borås konstmuseum 21 november
– 16 december 2001
Hallnäs, L. Zetterblom, M., Design for Sound Hiders, Installations
Textilmuseét i Borås, November 2002 – Januari 2003
Bergman M., Hallnäs L., Landin H., Townsend R., Thornquist C. The Dark Room
Fashion Show, Exit2004, Textilhögskolan, Högskolan i Borås 2004
Artistic work:
10 pieces for solo violin – first performance Klangraum Düsseldorf
2004, Clemens Merkel
Winterfeld, clarinet quintet – first performance Ny Musik Borås 2004,
Quartetto Bozzini, Jürg Frey clarinet
Complete list of compositions STIM/Svensk Musik
Discography:
Spår, for two pianos – Mats Persson, Kristine, Scholz Phono Suecia,
PSCD 106
Fromm und Fröhlich sein, volin solo
– Annal Lindal, Content, SAK 4610-3
Wo der Wind den Steg Umwehet, Portait CD, Content, SAK 4610-6
Stille führt der Steg, violin solo – Anna Lindal, Content, SAK 4610-7
Från
dunkla silverskyar ner, voice and piano – Maria Höglind, Henrik Löwenmark, Phono Suecis PSCD 133
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