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Explorations in Outfit-Centric Design Session: Ideation Methods CHI 2013: Changing Perspectives, Paris, France Fashionable Shape Switching – Explorations in Outfit-Centric Design Oskar Juhlin†, Yanqing Zhang†, Cristine Sundbom†, Ylva Fernaeus‡ † Mobile Life @ Stockholm University ‡Mobile Life @ KTH Kistagången 16, Kista, Sweden KTH, Stockholm {oskar, celia}@mobilelifecentre.org [email protected] ABSTRACT fashion in online gaming [4], sustainable fashion design We present a design exercise illustrating how fashion [23], wearable computing [27], and mobile design [16]. practices and the fashion design process can be used to Fashion studies [19, 31], which focus on both the aesthet- create new opportunities both in the mobile domain and in ics and social characteristics of clothes, is particularly product design, as well as in wearable computing. We relevant to product design [26], which increasingly deals investigate the concept of outfit-centric design by extend- with material properties of digital devices close to our ing the support for social and visual interaction with digi- bodies [31]. Hardware design is growing along with the tal devices beyond the currently available shells and increasing availability of microcontrollers in everyday stickers, and drawing on the ways in which people vary products [7]. In particular, wearable computing research their dress ensembles. We designed a set of mock-up has revealed challenges in developing solutions that be- samples in a local fashion style, as a first step in under- come an accepted part of daily clothing practices. There standing possible applications of the emerging technology are many fully developed products showing potential of organic interfaces. Initial user feedback shows how from the utility part that for various reasons have yet to fashion-conscious participants creatively experimented become commercially viable, for example, smart sports- with the set’s variations of shape and color in outfits cre- wear, socially connected T-shirts and party dresses ated from their personal wardrobes, which revealed the equipped with light displays [27]. Opportunities still re- importance of the objects’ size and location on the body. main to design interactive products within an established It also points out that a lack of integration with the fash- “ecosystem” such as that of fashion. Here it is important ion system’s processes reduces the attractiveness of the to bridge industrial and interaction design to create devic- samples. es with meaningful relations between the appearances of Author Keywords the device and other desirable objects. We also see similar Fashion; outfit; design; mobile interaction; product de- concerns in the emerging area of organic interfaces, sign; wearable computing; organic interface; dressing which still need more applications [29]. ACM Classification Keywords In mobile interaction design, there have been explicit H.5.m. Information interfaces and presentation (e.g., HCI): attempts to create designs that that target a fashion- Miscellaneous. conscious market, i.e. people who are interested in their General Terms physical attractiveness and image [30]. The industry has Human Factors provided accessories and hardware designed for them, and has marketed devices on fashion runways and in fashion INTRODUCTION magazines. A recent study of fashion bloggers’ comments The relationship between product design, interaction about mobile phones [16] shows that more opportunities design, and fashion is currently attracting increased atten- can be found in this area by learning from fashion-con- tion among researchers in HCI, for instance in studies of scious people’s practices. The posts show apparently that they appreciate public visual aesthetics, accessories that Permission to make digital or hard copies of all or part of this work for combine with an outfit to create a look, and variation of personal or classroom use is granted without fee provided that copies are looks. The limited number of posts that discuss mobile not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. To copy otherwise, phones was explained as possibly due to mobile phones’ or republish, to post on servers or to redistribute to lists, requires prior limited uses as accessories in this sense. The opportunities specific permission and/or a fee. to create and vary visual aesthetics on smartphones are CHI 2013, April 27 – May 2, 2013, Paris, France. restricted to the screen, which is normally turned towards Copyright 2013 ACM 978-1-4503-1899-0/13/04...$15.00. 1353 Session: Ideation Methods CHI 2013: Changing Perspectives, Paris, France the user and invisible to people nearby. On the other hand, ing practices, including issues of matching, presenting the back of a device offers a look that cannot be altered, identity and cultural belonging. unless by adding a cover. Again, it is the other way Fashion is an important driver of taste and it constantly around when it comes to other fashion objects. Garments molds ideas of what is considered beautiful [19, 31]. Wil- and accessories are easily combined to create publicly son says the changing perception of what is fashionable visible codes transmitting messages to surrounding people has to do with the evolution of aesthetic style, reflecting [11]. The study [16] points to the possibility to design ambiguities and dissonances in society [31]. It is im- interfaces (outfit-centric design) that extend social and portant to recognize that fashion is not the clothes them- visual interaction and the way people vary their outfits selves, but the social institutions and practices that make and dress ensembles beyond the current decorations. garments fashionable [19]. Among the social institutions, The design exercise presented here investigates how to our study focuses on designer and style [19] account for methods used by fashion to create items that Similarly, the shifting trends in the visual appearances of people adore [19] e.g. how a garment becomes fashion electronic devices can be discussed using notions from when it is integrated within an institutional system includ- fashion theory. This may especially apply to personal ing designer cults and design by style. This resulted in the mobile devices, which are carried in close proximity to concept of a shape-switching digital device, whose shape one’s body. In this respect, mobile phone could be con- could be changed when selecting a new dressed ensemble. ceptualized as fashion statement, a theme explored in It was presented as a series of 22 mock-up samples that several sociological studies [10, 18]. In HCI literature, are in themselves hard to the touch (Fig. 2), which vary in Pan et al. [23] discuss how people have reported some- color and shape. Importantly, this is a step prior to explor- times feeling social pressure to invest in a device in order ing the actual shape-switching device, in which we would to fit into a group. Thus, as with the formation of local focus more on digital functionality and usability issues. dressing practices, these devices become markers of a The concept was inspired by the opportunities emerging shared (sub)cultural identity. For new products to count as with organic interfaces [29], where the interface is con- “fashion” would therefore involve more than the re- ceived as capable of transforming into a variety of shapes, searchers agreeing that it is “pretty” or well-crafted. In- either by manual selection or by some sort of automatic stead the design has to connect to fashion practice and feature. The set is designed based on studies of fashion- find legitimization through fashion mechanisms. This conscious people in Stockholm, emphasizing fashion as a involves not only an appreciation of the object, but also local and historically dependent phenomena [see e.g. 9]. how it fits into a person’s visual presentation, as part of a The shapes are visible both to their owner and to people social setting where appearances count. In this paper, we in the vicinity. The making of prêt-à-porter samples by a address this theme by exploring mobile interaction design designer is important since it accounts for the fashion in a way influenced by fashion approaches. design process. We gathered initial user feedback from five users who mostly participated in their homes by ex- Fashion in Mobile Hardware Design perimenting with selecting among the samples to see how Fashion design of mobile phones has mostly concerned they fit with the ensembles from their wardrobes. hardware, e.g. the selection of colors, shapes, and materi- als used for different handsets, or the marketing of differ- RELATED WORK ent phones to specific user groups. Also luxury phones, This study is influenced by fashion theory and research made of precious materials such as crystal and gold, have investigating how product and interaction design uses been appearing since the beginning of this century. Other fashion as a strategy in mobile industry. materials such as leather and fabric, often seen in fashion, have been used, e.g. the Nokia L’Amour Collection [35]. Creating Fashion Versus Producing Clothes The embedding of electronics into items of clothing has Before the advent of touch-screen phones, they also dis- been investigated in both research and industry for many played co-branding with fashion companies or designers years. The term “fashionable wearables” is sometimes [13], such as Prada phones (LG). used to refer to designed garments, accessories, or jewelry The most visible way in which the mobile industry has that combine aesthetics and style with functional technol- approached fashion has been through cases, charms, stick- ogy [27], e.g. smart clothes like the “Know Where Jack- ers, shells, and other decorations [10, 18]. Nokia popular- et,” which incorporates GPS technology, and the “Life ized changeable cases on mobile devices in the1990s [8] Shirt” which measures health [20]. It is a recognized chal- and other manufacturers, e.g. Sony Ericsson, followed lenge to develop solutions that are accepted into everyday suit releasing fashion phones.
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