In this work, we compare the designs of two fashion-tech garments that communicate the anxiety felt when walking alone. While the two garments share a common vision, they are designed to be worn in two radically different settings and to communicate to different audiences: one directly communicates an empathetic experience to its wearer; the other a model wears at a runway show and must share its story to a general audience. We used Research Through Design (RtD) methods to design both fashion-tech garments. Then, we recorded and analyzed the design process for both garments via an annotated portfolio to compare how the audience and setting influenced the design approach and the final wearable. In this paper, we describe both fashion-tech designs and a comparison of their respective annotated portfolios. Our analysis highlights how wearable technology must respond to context to continue communicating its story to its intended audience.

Fashion is driven by a narrative, i.e. a story or idea that the designer wants to convey to the audience. Fashion-tech now adds another dimension to this narrative through dynamically changing aspects of the garments. Many factors of presentation in a runway show affect how fashion-tech garments communicate a story to the audience. In this pictorial, we review a set of twenty-eight storytelling fashion-tech garments. We identify, catalogue, and categorize the factors designers used to convey stories to the audience from the runway. The design space consists of three levels: (1) the artifact-level, (2) the viewer-level, and (3) the context-level. The design space addresses how designers show their story through fashion-tech garments and how audience members see and know those messages. Our work contributes a list of considerations that fashion-tech designers must address early in their design process to effectively convey their story during a runway show presentation.

We explore the use of cinematic “pre-visualization” (previs) techniques as a rapid ideation and design futuring method for human computer interaction (HCI) research. Previs approaches, which are widely used in animation and film production, use digital design tools to create medium-fidelity videos that capture richer interaction, motion, and context than sketches or static illustrations. When used as a design futuring method, previs can facilitate rapid, iterative discussions that reveal tensions, challenges, and opportunities for new research. We performed eight one-week design futuring sprints, in which individual HCI researchers collaborated with a lead designer to produce concept sketches, storyboards, and videos that examined future applications of their research. From these experiences, we identify recurring themes and challenges and present a One Week Futuring Workbook that other researchers can use to guide their own futuring sprints. We also highlight how variations of our approach could support other speculative design practices.

Fashion and fashion technology is a popular medium for bringing awareness to social issues through runway show presentations. However, we do not know what design decisions of fashion technology garments and runway show elements affect how messages of social issues are translated to the audience. My thesis work aims to understand how the design and presentation of fashion technology garments can create a deeper understanding of these messages in the audience. In this work, I outline the process of understanding technology for awareness and how the runway conveys activism through fashion technology. I also present two project designs to explore (I) the creation of an activism fashion technology garment for the runway and (II) ways to make runway events more interactive.

Empathy tools are experiences designed to evoke empathetic responses by placing the user in another’s lived and felt experience. The problem is that designers do not have a common vocabulary to describe empathy tool experiences; consequently, it is difficult to compare/contrast empathy tool designs or to think about their efficacy. To address this problem, we analyzed 26 publications on empathy tools to develop a descriptive framework for designers of empathy tools. Based on our analysis, we found that empathy tools can be described along three dimensions: (i) the amount of agency the tool allows, (ii) the user’s perspective while using the tool, and (iii) the type of sensations that are experienced. We show that this framework can be used to describe a wide variety of empathy tools and provide recommendations for empathy tool designers, as well as techniques for measuring the efficacy of an empathy tool experience.