Taking cues from oft-used user journey or consumer experience mapping, this activity (built in Miro) maps a sportswear user experience. It was applied in user workshops to map the body-sportswear interaction of various consumers with an upper limb impairment or difference. A creative thinking warm-up, this activity helped to think through key interactive touch points with sportswear use. After determining sportswear-related barriers and positive experiences, ideal designs for this consumer group were explored through open idea generation brainstorming.
It’s all about reaching the right people for expert collaborative input. Inclusive and adaptive sportswear design is such a complex (and new!) multi-disciplinary field that it’s taken knowledge from many different areas to get a holistic sense of this field of design. Of course, the users and excluded consumers are key! This lived experiential knowledge is central to making sure this research is meaningful and representative. But knowledge from fields of biomechanics, adaptive sports, sportswear designers, disability innovation and engineering, and more are also necessary. This map shows who was consulted throughout the exploratory research, concept building, and validation of the final output.
My exploratory, inductive qualitative design research employs a pragmatic, iterative methodology that is participant-led and reflective.
Drawing on previous industry experience, critical disability studies, and inclusive design, my aim is to produce a toolkit to guide designers to a more user-led, inclusive approach.
First, a deeper look is needed at the areas of practice in which adaptive or inclusive sportswear exists, as well as external contributing factors.
Hi all. After a long hiatus on this blog, it’s about time I picked up again to share some concepts about designing sportswear for people with physical disabilities. I’m continuing on at London College of Fashion to explore a participatory design approach for sportswear design for people with upper limb mobility impairment. More to come…
Learn how to use “Flair” to energize your customers, colleagues, and audiences from my co-author Jim Poage in his podcast for Authority Marketing – http://authoritymarketing.com/blog/podcast/flair-energize-your-customers-colleagues-and-audiences-with-jim-poage/
Jim discusses how to reach your target audience on an emotional level using the six building blocks of flair that we outline in our book – http://mavenhousepress.com/our-books/flair/
“The book Jennifer and I wrote called Flair, and the subtitles [correlate with] designing your daily work, products and services to energize customers, colleagues, and audiences. The important thing about flair is to engage emotionally and energize people. If you energize people, they’re more likely to act [and to] follow up with you. Energy tends to overcome inhibitions they might have about acting, and help spread the word and message about what you’re offering. It helps move it and propel it around among others.”
I was just interviewed on the Claim the Stage podcast, a show about public speaking for women hosted by Angela Lussier. You can check out my advice, personal stories, and tips here: https://itunes.apple.com/us/podcast/angela-lussier/id1119712757
This article was written for Fashion Revolution about Marcelo Ballesteros, the man who connects the local Patagonian and Andean artisans of animana with the commerce of the brand.
Click here to read London College of Fashion’s blog article on our successful Design Management collaboration with sustainable luxury brand animana:
Written for animaná’s facebook page, published on 6 May 2016:
- Our supply chain begins with the sustainable breeding and shearing of South American camelids in a free environment within the Andes.
- Classifying and separating the fibers by color, length and thickness is a fundamental stage of the process, after which begins the cleaning of the fibers in pools of hot water and special soaps containing natural elements from the Andes.
- In order to dye the fibers, we work to recuperate the art of the natural tints, as this knowledge has dissipated in many regions due to extensive use of anilines. The very old from remote villages recall original dyeing techniques from the communities we work with in Peru.
- The fibers are then manual yarn-spun together with floor, vertical and waist looms. The spinning is defined according to its composition. We look for uniformity in fibers, colors, composition and length.
- In order to warp the textiles the threads are manually placed in a way which forms the design. Once collocated on the loom the manual weaving begins. One-by-one knots are made with each thread. The pressing is also done manually to eliminate any imperfections (missing threads, knots, etc.) until the textile is perfected, rolled up and ready for sale.
- The design of each product allows the raw materials to speak for themselves. We believe in recovering the savoir faire of our ancestral techniques, while keeping contemporary design aesthetics in mind.