re-utility

8/12/2019 Re-Utility

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Communicating Design Arguments:

Re-Utility

Dylan Chng Rong Jih [1202143B]

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Abstract

The philosophy of utilitarianism as applied in fashion has much potential for

development and reimagining, however, there is little in the way of revolutionary approach

and groundbreaking design; the difculty of the matter dissuades many from approaching

it. Inventiveness is largely stagnant, and many brands attempts at utilitarian design are

mostly only repurposed and reappropriated from their competitors. This has resulted in the

under-exploitation of the concept. Current attitudes and climates do not promote creativity

and inventiveness in utilitarian fashion design, as designers and consumers stereotyped

views on the philosophy have effected a vicious cycle of non-production and non-

consumption. To resolve this issue, we should fully consider the ideas behind utilitarianism

and fashion, and stimulate a new design ethic that maximise both form and function in

previously unimagined ways.

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1. Introduction

1a. An Invitation to Think: A Thesis on Utilitarian Fashion

The philosophy of utilitarianism has much potential for further development in the

fashion industry, with it currently being limited and stagnant in inventive implementation,

resulting in a narrow selection in the market, and a stigma against the very concept as

unimagined and mono-dimensional. Brands that do pursue the philosophy have only

scratched its surface, and many others who claim to do likewise could be said to merely be

adopting a fad. Reimagining utilitarianism has the potential to innovate the industrys

perspectives on the philosophy and usher in a new era of functional clothing to grace the

markets.

1b. An Overview of Re-Utility

This paper calls for a shift in perspectives regarding the concept of utilitarianism

when applied in the fashion industry, especially in terms of garment design. The

embarkation on this crusade of philosophy stemmed from an observation about the

concepts application in contemporary design, in particular with brands and retailers

popular and highly accessible to the general public.

The motive of this paper is to invoke thought and inspiration, for fashion designers,

students and, to some extent, consumers, in terms of how they perceive and integrate

utilitarianism into fashion in its truest and most creative sense.

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2. De ning Utilitarianism in Design

2a. The Design of Usefulness

Utilitarianism in contemporary design tends to combine both dictionary and

philosophical denitions of utility to create a rationalisation of utilitarianism applicable to

the eld. This means that products designed with a utilitarian principle seek to be useful

and practical, thereby maximising its users happiness (and by extension minimising their

suffering). This can be substituted with the principle of user convenience .

This naturally results in product design following a form follows function principle, an

ethic associated with modern 20 th century architecture, where the appearance of an object

or product is secondary to its usefulness and practicality.

The Gugenheim Museum, http://www.smashingmagazine.com/2010/03/23/does-form-follow-function/

Above is a classic example of the principle, made famous by Frank Lloyd Wright, theGugenheims architect, whose helical interior facilitates gallery viewing.

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This is rationalised as such because in purist utilitarian ethics, the aesthetic design

of a particular product will only have value if it has a high degree of use and convenience

to its user; if its appearance is a foremost consideration, or if its appearance, however

aesthetically pleasing, obstructs its fullment of utilitarian criterion, it is bad (utilitarian)

design.

Below are two examples of products deigned with this principle in mind, utilising them

in different ways.

Box Chair/Childs Chair, http://www.theimagist.com/les/images/ar5.jpg

Wall-mounted Bike Rack http://www.fubiz.net/wp-content/uploads/2013/09/Slit-Bike-Rack.jpg

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3. Rationalising the Movement

As demonstrated in the previous section, designing with the philosophy of form

follows function as forefront consideration does not necessarily mean that the products

appearance is completely forsaken. It merely means that aesthetic is relegated to a

secondary consideration.

However, when equated with the concept of fashion as we understand it in modern

society, the formula becomes muddled by contradictions, which can often mean that

clothing designed with utilitarian intentions in mind often forgo the aesthetic part altogether.

This is also why when we think about functional clothing, we think of articles like the

following:

http://www.kalenji-running.com/images_produits/821/8216172/PACKSHOOT/400x400/ I_comfort_LSJ_Evolutiv_L_PINK_8216172_1.jpgv,http://www.swiftsuniforms.co.uk/js/tinymce/plugins/imagemanager/les/Z_HiVisVest_Yellow.jpg,http://workingperson.com/media/catalog/product/i/m/image_55475.jpg

It can be said without a doubt that successfully integrating fashion and utility is and

will continue to be a monumentally difcult task.

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3a. De ning Fashion

Fashion is dened in a sociological context as a manner or style of decorating ones

appearance and status, particularly in terms of clothing, hair, attitudes and behaviour. In

this context, fashion denes and is dened by the existence of trends and fads , which are

both denitively temporary and impermanent social obsessions, (with the former being

longer lasting than the latter). Historically, as observed by Donahue (2004), fashion is

emphasised in classist societies, which observe a fascination and respect for (and often

encompassing a desire to emulate) the aristocracy. In many eras, trends and fads weredistillations and mimicries of aristocratic clothing, a phenomenon which would drive the

eventual development of new aristo-styles. This cycle is essentially the fashion locomotive,

and is observed in modern society, where aristocracy can be substituted with fashion

houses, celebrities and various style icons.

3b. Futile Fashion

The very transient nature of trends and fads cannot be purely dened as utilitarian in

terms of design ethic. Firstly, trends, fads, and by extension fashion, are driven by form

before function. Secondly, across the board, trends and fads themselves have no net utility

discounting that they contribute to individual happiness. In these parameters of denition,

fashion is not utilitarian. Fashion as a school of art, where pieces end up in display soon

after their debut, likewise is not utilitarian because the design of these pieces do not full

the core function of fashion: to be worn.

According to Concern Infotech (2014), trends and fads are qualied from the

dimension of an individuals desire to be distinct while grouped. It evidences the

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dissonance of what people expect fashion to be, and the futility of expecting individuality

while desiring to conform.

3c. The Construction of a Quandary: The Useful Fashion Paradox

It is because of all these issues of is-but-is-not that intrinsically plague the fashion

industry that the idea of utilitarianism is so difcult to reconcile with fashion design in a

successful, creative and inventive manner. Very simply put, the philosophy of the former

advocates usefulness over appearance, while the latter emphasises appearance over allelse. Both philosophies are polar opposites of each other, and hence, the widespread

exclusion of either from the other.

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4. Current Issues

4a. Fashion and Use

When a utilitarian design ethic is attempted application in fashion design, a number

of observable obstacles surface:

1) fashionable, trendy garments, and garments that are interesting

and revolutionary in terms of aesthetic and construction are often

impractical and cumbersome.

2) practical, convenient and comfortable clothing are invariably of the

same style which can be monotonous, leading them to be generally

considered uninteresting and done.

3) attempts at incorporating the two at a consumer level have been

made, but are either largely stagnant in variation or dismally similar.

The rst two issues are woeful eventualities of each philosophy contradicting the

other: clothes that look nice and please its wearer do not full utility to its maximum;

clothes that are useful and practical often do not full fashion to its maximum.

These two issues are arguably resultant of the third. The following, highly similar

images represent a collage of results generated from entering utilitarian clothing into a

Google image search.

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Google Image Search, Utilitarian Clothing, https://www.google.com/search?q=practical+clothing&source=lnms&tbm=isch&sa=X&ei=Spn4UuLiOYOQrgfWhoDwAw&ved=0CAkQ_AUoAQ&biw=1279&bih=655#q=utilitarian+clothing&spell=1&tbm=isch&imgdii=_

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4b. 90s Utilitarianism: Cargo Pants

A hallmark of successful utilitarian fashion was the cargo pant, observable in the

previous collage, which was a trend that ourished in the 1990s.

Google Image Search, Cargo Pants, https://www.google.com/search?q=practical+clothing&source=lnms&tbm=isch&sa=X&ei=Spn4UuLiOYOQrgfWhoDwAw&ved=0CAkQ_AUoAQ&biw=1279&bih=655#q=cargo+pants&tbm=isch

However, in spite of it being a perfect marriage of trend and utility at the time , it didnot prove to have longevity. Contemporarily, it and its ilk are viewed through a lens of

disregard, one example being from a forum thread (Girlsaskguys, 2014):

Honestly, I think cargo pants don't accentuate shape, sometimes

baggy and is not a fashion statement. I see a lot of painters,

construction workers, lift technicians and factory workers wearing

them.

They don't accentuate shape, it is unappealing to me.

They look better on men than women, but neither on neither are

hugely attering.

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Another example comes from a strongly worded blogpost entitled If You Wear Cargo

Shorts/Pants Everyone Around You Thinks Youre A Tremendous Tool (Barstool Sports,

2012).

4c. Case Studies: UNIQLO and MUJI

In modern fashion, brands and retailers that have experienced success in combining

utilitarianism and fashion include UNIQLO and MUJI.

UNIQLO is a Japanese brand that is almost ubiquitous in the international market for

casual clothing. Generally branded as comfortable, practical clothing that is also trendy

and stylish, UNIQLO has experienced immense success in its own style of utilitarianism

clothing

Google Image Search, Uniqlo, https://www.google.com/search?q=uniqlo&source=lnms&tbm=isch&sa=X&ei=Ip_4Ur7uEseNrQeDpIA4&ved=0CAwQ_AUoBA&biw=1279&bih=655

One of UNIQLOs most popular ranges in terms of functionality is HEATTECH.

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HEATTECH, http://www.uniqlo.com/ht_w/us/img/h1_2.jpg

HEATTECH is essentially thermal clothing, but in a ourish and form and function,

the range is designed to be appealing to the mass market for its appearance as well for its

warmth.

Uniqlo Heattech, http://3.bp.blogspot.com/-NZu5pGjz8kE/ULtRCcjZjII/AAAAAAAAFCU/sGw9NIlakno/s1600/Rachel's.jpg,, http:// 3.bp.blogspot.com/-HNi0-KnVS4Q/UMnZ-FwJAKI/AAAAAAAAD0o/pb5lIeKT8Ck/s1600/Uniqlo%2BHeattech%2B3.jpg

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MUJI is also Japanese but is inversely ubiquitous for its lack of a brand. MUJIs

cover-all design policy means that each store is very nearly a utilitarian paradise. One can

get almost anything one needs, from childrens educational toys to food, and of course,

clothing.

MUJI Products, http://2.bp.blogspot.com/-NtacdeyPCY0/Tdxh0a-2QHI/AAAAAAAAA3A/EBxSnhqQNgY/s1600/muji-1-1.jpeg.jpg

MUJIs neutral, blank-slate image is where their utilitarianism is strongest. The non-

brand eschews any concept of trend or catering to the whims of the present, designing

their products to be evergreen. According to Sweterlitsch (2009), their success is not an

anomaly of fashion, but instead a carefully deliberate effect, as shown by MUJIs website:

MUJIs streamlining is the result of the careful elimination and

subtraction of gratuitous features and design unrelated to function.

The MUJI concept derives from us continuously asking, What is

best from an individuals point of view?

MUJI aspires to modesty and plainness, the better to shape itself to

the styles, preferences and practices of as wide a group of people as

possible.

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4b. The Fallacies and Homogeny of Fashion Innovation

Although laudable, and exactly in the spirit of what utilitarian fashion should be , we

must remember that UNIQLO and MUJI are only two brands in an immense and still-

growing industry.

Their success however has seen the emergence of two major issues in the fashion

utilitarian debate. These are only two forms of utilitarianism from two brands, and yet we

already consider these methods to be the end of the issue, and in some cases,

oversimplifying utility to equate merely to comfort. Furthermore, after their pioneering of

contemporary utilitarian fashion, subsequent efforts began to appear increasingly less

original. These proponents of utilitarian fashion were not inventing new products, but riding

on the coattails of original success.

We look to the term fashion innovation, and herein lies the problem. According to

Grasty (2012), In its purest sense, invention can be dened as the creation of a product

or introduction of a process for the rst time. Innovation, on the other hand, occurs if

someone improves on or makes a signicant contribution to an existing product, process

or service. Simply put, an innovation is an elevation of an existing product , which almost

certainly includes the reiteration of some of the products original specications.

One such example of innovation close to the fashion industry is what has come to be

collectively, and erroneously, known as dri-t. Moisture wicking fabric has confused roots,

argued to have been invented in either 1996 or 1998 by two separate parties.

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Moisture Wicking Fibres, http://static.wixstatic.com/media/ 8ad7fd_67ec84eaa5dda7d74d44521c90450244.png_srz_380_310_85_22_0.50_1.20_0.00_png_srz

The fabric itself was an invention, but every subsequent product utilising it as its

selling point is an innovation.

Dri-t Clothing, Adidas, Nike and New Balance, http://m.vcst.net/wines/adidas-lk-rebird-ts-608929-s50.jpg, http://i.imgur.com/f787o.jpg,http://s2.thcdn.com/productimg/0/600/600/29/10796129-1369242148-141214.jpg

Denitively, although both have altruistic goals, innovation is different from invention.

The issue thus resides hence: utilitarianism in fashion has been a series of innovations,

and almost never inventions.

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The greatest pitfall of fashion innovation is of course the burgeoning of the over-

similarity of garment designs across brands. This is echoed equally in the application of

utilitarian principles: the aforementioned moisture wicking fabric itself is a victim of overuse

to imply functionality.

The images below demonstrate the homogenous effect fashion innovation has on the

market:

Bird Print Shirts, Topman, Burton Menswear, Obey and Alexander McQueen, http://g.nordstromimage.com/imagegallery/store/product/Large/7/_7334807.jpg,http://menaroundhere.les.wordpress.com/2013/09/burton-menswear-london-7492-805811-5-product.jpg,http://cdnc.lystit.com/photos/2013/09/14/obey-navy-early-bird-annel-ls-shirt-with-bird-print-in-navy-product-4-13498681-256662494_large_ex.jpeg,http://static.fashionbeans.com/wp-content/uploads/2012/08/birdprintmain.jpg

Military Hooded Parkas, H&M, American Eagle Outtters, Abercrombie & Fitch,http://item2.tradesy.com/r/782445070709a5512243d2fb81c79fb1/203/307/outerwear/h-and-m/8-m/h-and-m-jacket-faux-fur-parka-tan-

fur-coat-721086.jpg ,https://s3.amazonaws.com/assets.svpply.com/large/882251.jpg?1388712642 ,http://doryana.edublogs.org/les/2011/05/abercrombie-31-11rpfkt.jpg

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5. Objectives and Solutions

5a. A Raison dEtre

Consequently, we come to the reason for this paper. Inventiveness and originality in

their nest and fullest are required to address this challenging conundrum of the oxymoron

utilitarian fashion.

Make no mistake: this paper is not calling for a renewed consideration on the

importance of garment practicality, nor is it arguing for the proliferation of functional

clothing; instead, this paper is a call for a reimagined and revolution in the way utility is

implemented in fashion design a challenge to fashion design ethics, even so that this

aspect of the fashion industry can be given new life.

The main goal of revolutionising the way utilitarianism is applied in fashion, and the

secondary goal of promoting invention versus innovation, is especially salient in modern

contexts, where a lot of what we know as fashion has a larger sway on various facets of

society.

In design, we would mourn the decline of creativity if from hence utilitarianism in

fashion design continues on its current track; as a matter of principle, what are we as

designers if we cannot see the potential and value of looking past the simplest applications

of the utilitarian principles and beyond dri-t fabrics and numerous pockets?

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5b. Reinventing Fashion Utility and The Practical Mindset

Fashion is ready for a level of utilitarian clothing beyond what it has now. The

overarching idea behind this paper therefore is such:

To propose a new branch of utilitarian philosophy geared towards fashion invention ;

to change designers and consumers alike with a new perspective of how broad utility

actually can be and redene utilitarian fashion as a solution beyond just practical

clothing, but as a harmonious marriage between the two conicting principles ofutilitarianism and fashion design, elevating both form and function to equal stature.

For example, current styles incorporating utilitarianism tend on emphasising comfort,

practicality, wearability and durability. Why not think of convertibility, multi-utility and

enhanced adaptability as well?

I propose thus that for designers, whether or not they foray into utilitarian fashion, to

consider during the design that clothing can exist in more than one state, and can be more

than just clothing. Consider convertibility and customisability.

The solution to blandness in utilitarian fashion can only come from the drivers of the

industry: the designers and the consumers, but the primary target of this seminal

philosophy naturally has to be the designers. Of course, the intention is to generate a cycle

of consumption and production, and the consumers have to be as convinced as the

designers of this new era of clothing in the revitalisation of utilitarian philosophy, but short

of providing a discourse of philosophical thought to every individual who partakes of the

fashion industry, the brunt of the effort has to come primarily from the designers.

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The two major ways we can make clothing multi-functional are through the utilisation

of pioneer technology, or through ingenious construction.

Regarding the former, some examples include such things as spray-on fabric,

patented by Fabrican Ltd. in 2000.

Fabrican, Spray-on Fabric , http://www.wired.com/images_blogs/gadgetlab/2010/09/fabrican3.jpg, http://trendland.com/wp-content/ uploads/2010/09/instant-spray-clothing-6.jpg

As well as fabric that reduce in opacity when stimulated by the wearers increased

heartbeat, created by Dutch designer Daan Roosengaarde in 2012.

Studio Roosengaarde, Intimacy 2.0, http://www.studioroosegaarde.net/project/intimacy-2-0/

These inventions can be used to inspire new ways of looking at the very textiles that

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If aerosol fabrics and fabrics that turn clear can exist, why not also fabrics that

become thinner or shorter in the heat, or fabrics that can change their colour when

exposed to certain spectrums of light? Let new technologies be an inspiration behind

renewing what we think of as utilitarian fashion, where the bres of the clothing we wear

can serve more purpose than simply constituting them.

As for the latter, basic examples include a 120-zipper dress by Sebastian Errazuriz,

which allows the wearer the ability to customise the dress in many ways, from lengths to

including slits and cut outs, limited only by the imagination.

120-zipper Dress, Sebastian Errazuriz, http://www.hediyeler.org/wp-content/uploads/2011/03/fermuarl%C4%B1-elbise-2.jpg

More complex are some of Issey Miyakes designs, where whole dresses are

designed like pieces of origami, and collapse into compact, at constructs, as shown on

the following page.

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Origami Garments, Issey Miyake, http://renanjaypacson.les.wordpress.com/2011/01/01.jpeg

Even more inventive are clothing that turn into other things, like one that becomes a

bedspread by Diane Steverlynck.

Bedspread Dress, Diane Steverlynck, http://www.ecouterre.com/wp-content/uploads/2010/05/diane-steverlynck-self-couture-4.jpg

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And nally to take the cake are Hussein Chalayans designs which double as

furniture and upholstery.

Afterwords, Hussein Chalayan, http://www.estampa.org/en/wp-content/uploads/2013/01/chalayan-1.jpg

Obviously clothing can be more than adornment. We know they qualify as more than

just coverage for esh psychologically and emotionally, so why not physically as well? We

can have clothing that double as shelter or storage, even a source of light, sound and

scent. The horizon is innite and we have yet to explore even a fraction of what

utilitarianism in fashion could mean: design clothing with more than just clothing in mind. 24


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7. Conclusion

Perhaps the issue of utilitarianism and fashion is not a groundbreaking one that will

wholly benet a large portion of the human population, and it certainly will not pioneer any

dramatic advances in altruism or general well-being, but so rarely is fashion ever thought

of philosophically.

Its value in society as a signicant determinant, while itself being determined by its

captives, is often overlooked because of the air and whimsy that comes with the industry.

Fashion utilitarianism is but a facet of the many aspects of fashion philosophy, but it

is one that witnesses great neglect. The proposition of revitalisation could perhaps bolster

modern efforts to inject the industry with the inventiveness it so thoroughly deserves, from

the technology it bears to the way it is perceived. And if through ushering a new paradigm

from which fashion utility is observed can bring an inux of successful marriages between

the contrary principles of function and fashion, then perhaps this movement can too serve

the ulterior purpose of elevating fashion to be considered by those who study society as

more than futile ights of fancy.

If anything, this project will hopefully at the very least inspire a handful of individuals

to take upon utilitarian clothing with fresh techniques and mindsets, and hence give the

industry a new depth it has long desired but never knew it did.

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8. Bibliography

Bentham, J., (1907), An Introduction to the Principles of Morals and Legislation , Oxford:

Claredon Press

Bradley, S., (2010), Does form follow function? , Retrieved from: http://

www.smashingmagazine.com/2010/03/23/does-form-follow-function/

Fabrican LTD., (2000), What is fabrican? Retrieved from: http://www.fabricanltd.com/

Geninet, H., Utilitarian Philosophy: Denitions and Origines , Retrieved from: http://

utilitarianphilosophy.com/denition.eng.html

Grasty, T., (2012), The difference between invention and innovation, Public Broadcasting

Service: Idealab, Retrieved from: http://www.pbs.org/idealab/2012/03/the-difference-

between-invention-and-innovation086/

Hanks, T., (2010), Moisture wicking fabrics, The Hackers Paradise, Retrieved from: http://

www.thehackersparadise.com/?p=9156

Oxford Dictionaries, (2014), Utilitarianism , Retrieved from: http://

www.oxforddictionaries.com/denition/english/utilitarianism

Roosengaarde, D., (2012), Intimacy 2.0, Retrieved from: http://

www.studioroosegaarde.net/project/intimacy-2-0/

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Sweterlitsch, H., (2009), Dissolving when in use: Muji, brand and nothingness , [MUJI

brand report], Washington, DC: RTC Relationship Marketing

re-utility

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