Week 3: Weekly Reflection on Rapid Ideation and Prototyping.

In week three we take a closer look at the processes and techniques involved in Rapid Ideation and Prototyping. I found the lecture by Dr Michael Stott very interesting as he speaks of the approaches to prototyping within the gaming industry. I also found many parallels with the writings of Jesse Schell in The Art of Game Design: A Book of Lenses (@jesseschell) that can also be applied to prototyping processes in the fashion design industry.

Game Dynamics - Game Mechanics

In contrast to gaming, as a fashion designer, at first it is easy to determine how you want the end user to interact with the product. For example, a bag should be used to carry things in. This is the basic function of a bag. However, there are many other elements to consider, deeper levels of functionality. Different silhouettes are more or less appropriate to different situations. A reusable grocery shopper should be strong and be able to hold large volume of items and the aesthetics are of secondary importance to the functionality, whereas a clutch bag carried for an evening dinner needs some functionality (enough space to carry keys, a phone and small belongings) however in this instance the aesthetic holds more value. 

There are also emotional factors to consider. A fashion designer may be tasked to design a range of performance clothing. Consider how the designer would want the consumer to feel when wearing an item designed for yoga. They would intend for them to feel comfortable, unrestrictive/able to move freely. Pieces designed for cold-water sports would need to consider warmth, protection and durability.

Regardless of the aesthetic appearance, one would have to work backwards in order to choose the correct fabrics, construct the garment in a way that allows flexibility of movement and to ensure that the sizing and fit is appropriate for the intended use. Finally the designer would apply to aesthetics to the garment that tie it in with a seasonal colour story, or brand DNA. 

In a large range of bags designed for a single season, different purposes and intentions will most likely be met, and whilst all need to be aesthetically pleasing for a fashion brand, the mechanics will vary from style to style. 

Working backwards from the end aesthetic to the mechanics of the product is a method used in fashion design, though not always at the very start of the design process, as there are many stages of rapid ideation first.  Once the range is visually coherent and the various aesthetics and emotions have been met, the designer begins to work backwards in order to create a technical pack - a step by step guide for factories to mass produce the product. This includes measurements, lists of components used as well as fabrics and colour options. These are all the mechanics for the final product dynamic. 

Figure 1: Example Of Dynamics To Mechanics In Fashion Design Process (Antonio Jackson-Perkins, 2021)

Slow Boil Approach in Fashion Design

This technique is often applied at the very early concept stage. Before designing a garment, the design team would usually come together to create a seasonal concept. There may be some influence from trends sites or catwalk shows, but more often this is a starting point from which the design team would chose a topic to base the season on. For example, in a summer season, the influence might include prints, textures or patterns…and the key silhouettes might include holiday wear. 

From this guidance, the in house designers choose Lisbon as the concept. The designers would think about this topic, drawing inspiration from online research or even research trips to the city. Strolling around the streets of Lisbon, camera always at hand to capture moments of inspiration. The pastel buildings and aquamarine sea might inspire the colour palette, or building tiles and silhouettes from buildings might inspire allover prints. But venturing deeper, one might be inspired by the way that the city makes them feel and this can sway the artistic direction of the seasonal concept. 

Once all research and ideas have been gathered and collated, a story is then created out of this theme. This would often revolve around a character.  Our character enjoys living and working in the city, he walks to work along the cobbled streets, and enjoys stopping for a coffee and to gaze at the passers by. His favourite author is JD Salinger and when he’s not working, he enjoys going on hikes in the surrounding countryside.

When the designers start to build up a picture of the character, what their interests and hobbies are, it begins to create a fully realised concept from which one can build a cohesive range. At this point we would apply the key trends, silhouettes, colour direction and fabric choices and the collection starts to come together. 

Blue Sky approach and Rapid Prototyping

The Blue Sky approach refers to brainstorming with no limits and is also often used in fashion design in those early stages of creating a range. Whilst collating research and all the tools that influence the designer (trends, colour and fabric direction), the designer may suddenly have an idea which he/she needs to make a note of. This could be just a sentence, a sketch, or even a basic technical drawing. All creative ideas, regardless of plausibility are allowed. Trend research sites, such as WGSN, may highlight a key silhouette for the season that might not initially sit with the DNA of a brand. At this early stage, it’s important to not limit creativity, as later down the line there are opportunities to refine the range to ensure cohesiveness and balance.

So throughout the design stage, some ideas will be instantly prototyped and become core styles, others might be prototyped but require further critique and a second prototyping stage. Often due to time constraints and range limits many ideas will not move ahead any further.

Rapid Prototyping and Rapid Cuts

Jesse Schell calls rapid prototyping the rule of the loop:

“The more times you test and improve your design, the better your game will be.” - The Art of Game Design: A Book of Lenses (2008)

Rapid prototyping is not always possible within the fashion industry, though of course we must not forget that sketching is truly the most basic and rapid form of prototyping. I’m referring more to physical modelling prototypes for a 3D item. These prototypes give us the best indication on the potential success of a style, and whilst some companies may make rapid prototypes in house, this really depends on the resources and skills available. Not all designers are masters of the sewing machine. 

In my personal experience, prototypes took longer to create as they tended to be outsourced by factories. However, we would always design and prototype more styles than required to fit the range size. This allowed us to make rapid cuts to our prototypes when we assess them. As Fred Brooks says:

“Plan to throw one away. You will anyway.” - Mythical Man Month

I do believe that the approach of rapid prototyping should be adopted more. In purely economical terms, prototypes made in factories cost money whereas a quick paper prototype made in house is far more time and cost effective. Even if the designer cannot sew, just making a crude 3D model from paper, along with fabric swatches or reference samples should give a good enough idea whether an product should be developed further.

Facing Problems Head On

Time constraints force the designers to schedule fit meetings to discuss, critique, wear or use prototypes. It is at this stage that the team condenses the prototypes into a cohesive and balanced range. Some prototypes will be already near perfect and may be sent straight to the factory for manufacture, whereas others might need a little more work. The idea is there, but perhaps the fabric can be substituted, or the dimensions or constructing might need amending. 

“The most important skill of a designer is to listen. [Our creations] often seem to take on a life of their own once they reach a certain complexity, and it’s more important to make [something] great, than to make the [thing] that you originally intended.” - The Art of Game Design: A Book of Lenses (2008)

Schell argues that there comes a point in the prototyping process where one must look at the possible risks and problems that may arise that may impact how successful the end product is. Whilst the designer may avoid confronting any possible issues, taking time to consider the possible pitfalls and to problem solve before the problem arises will lead to a successful end product.

A good designer will often have already considered the possibilities of change such as an alternative fabric should the original desired fabric become unavailable. A great designer embraces changes and does not become too fixated on the original design, as this can limit potential.