For globalization of a fashion enterprise of Japan, the validity of the strategy which makes a “country” a standard of preference was verified through the wear experiment of the jacket by the consumers belonging to an actual market (Japan and Italy). The result is as follows. 1: The jacket in which the countries of manufacture differ became the product which was alike at a glance, when the sign (a place of production and a brand are displayed) which displays the difference was removed, but the subject has recognized the difference mostly. 2:This difference has checked that it was fixable as information on magnetic media (≈ paper medium), when applying pattern technology. 3: Although the heterogeneity by the difference of a country or a race tended to be emphasized in the action space which wears a jacket, it has emphasized conversely that similarity existed from this research.
When we make an innovation, we have to modify a philosophical view of the world on which our thought and conduct base tacitly. However, we are confronted by two difficulties in order to do such an innovation. The first is an ontological problem that we cannot deal with artifacts, which is an amalgamation of matter and spirit, in the traditional ontology. The second is a logical and epistemological problem that we cannot evaluate a hypothesis making process in the traditional formal logic and the modern epistemology. This paper presents a forecast that a recent philosophical issue ‘Ontology of Artifacts’ would be the key to solve the former and ‘Abduction’ would be the key for the latter. In examining such a forecast, we find that an innovative process in the fashion design provides a notable example. We conclude that those observations and considerations will contribute to establish the Science of Innovation.
Ever since the couture maison Christian Dior (CD) joined the Chambre Syndicale De La Haute Couture, it has been presenting its biannual runway shows for approximately 70 years. “Aesthetic elegance” the essence of haute couture is what couturiers in Christian Dior have to portray in their garments. However, Raf Simons, who took over Dior after John Galliano, was unable to do this. This paper proves this fact by using the criteria set by Suzuki from his working experience with Guy Laroche in 1980s. Using this criteria, examined are Galliano's 11 AW and Simons' 14 AW as well as his 12 AW as appearing in the film “Dior and I,” which describes the designing and manufacturing process of the collection. The study confirms that while Galliano met the standard of haute couture, Simons did not in that he did not compromise with the brand in his minimalism even though he did in terms of color. Simons' career cannot be termed as that of a true couturier. If his minimalism continues, haute couture, which necessitates gorgeousness, will disappear in CD. It was also revealed that the ateliers of couture maisons cannot do efficient work without well-trained couturiers. The paper confirms and concludes that couturiers affect the existence of couture maisons.
Design theory on the Japanese fashion clothing has been discussed in a range of clothing of “primary nature”. The cause of the poor of the international presence will be present in the “secondary nature”. Since the analysis is difficult, “secondary nature” has been regarded as unsuitable for engineering design theory. Therefore the concept of “action space of the wearer” is introduced. Though it's incomplete, but the evaluation system exists at that space. In addition, factors of business are added. Given these constraints, “secondary nature” of the clothing can be analyzed than the status quo. It will lead to the improvement of the international presence.
Since the 1960s, a number of engineering design theories and methodologies have been proposed aiming at explaining the nature of design activity scientifically. In this paper, we discuss what these engineering design theories could mean to fashion designers. Since, in the engineering design theories, the analysis - synthesis - evaluation (ASE) paradigm, which is believed to have originated in the process of mathematical proving and making scientific theories, is widely held, the theories could contribute the understanding of the nature of fashion design as far as the fashion design activity is rational in a scientific sense. However, in the fashion design process, designers develop and validate solutions to fulfill consumers' “body expression function” which largely involves subjective sensation. Therefore, the engineering design theories cannot be applied to the fashion design directly. After examining why it cannot be applied to the fashion design, we will discuss if there are any other ways to implement a theory of fashion design by referring to the Christopher Alexander later theory of design.
Design process of fashion apparel is discussed on the basis of general they of design by H. Yoshikawa et al. in comparison with the design process of usual industrial products, i.e. cell phone, home electronics, car and so on. In case of designs of usual industrial products, many restrictions, which confine designs of products, exist generally. However, in case of designs of fashion apparels, few restrictions on their designs exist. Actually, degrees of freedom on design of fashion apparel are infinitesimally large. Therefore, some restrictions are necessary when a designer of fashion apparels make designs of his own. The aid of this study is to clarify that restrictions confine design processes are determined by past designs of the brand which the designers belongs to and the preferences of the customers who support the brand.