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The Fashion Digital Studio (FDS) is a pioneering centre for technology and innovation in fashion. Through collaborative research and development, skills and knowledge transfer, the FDS is driving innovation in the practical development and creative use of digital technologies. It is recognised as a national and international resource for creative solutions in the fashion, media and technology industries.
The FDS works with a wide range of partners from individual designers to large global brands, from technology developers, manufacturers and media companies, to education providers and students. Activity centres on technology innovation, looking at the latest exciting digital technology developments. Work includes Research & Development, Knowledge Transfer and the delivery of a wide range of services, ranging from 3D Digital Printing to Consultancy. The industry areas that the FDS works with include: Fashion & Textiles, Architecture, Film & Games, Sports, Engineering, Bioscience, Wellbeing and Media.
The Fashion Digital Studio is a dynamic and multi-disciplinary team of leading design, academic and research personnel from a range of sectors. The group draws on expertise from Fashion Design, Fashion Production, Business Development, Electronic Engineering, Web Design, Computer Science, Interactive Media, Film and 3-D Visualisation. This unique and diverse set of knowledge, skills and research, characterises the FDS and defines the organisation as an exceptional technological and vision-led service for the Fashion Industry.
Philip’s background is in fashion and textile design. He now works at the interface of fashion design and technology, regularly collaborating with international experts in the fields of human, material and computer sciences to develop new approaches to design thinking and practice.
Peter is a 3D artist and designer with a professional background in motion graphics, interface design and fashion illustration. His research interests are in real-time 3D for print design and online experience. He lectures on web design, fashion graphics and 3D for the Fashion Media Production MA and the Digital Fashion MA.
Saiqa project manages research projects as well as coordinating communications, commercialization, and managing outward facing events for the fashion digital studio. She has a background in Social Science and holds a PhD in Infrastructural Development.
Douglas trained as a fashion designer, exploring wearable electronics for interactive performance. Douglas is a researcher at DISC (the Designer Manufacturer Innovation Support Centre) investigating the emerging technologies and business models that will change the industry and our interactions with fashion.
Enrique is an architect specialising in computational design and digital fabrication. His research focuses on non-conventional user interfaces, generative design, natural interaction and physical computing. Through his company, esc-studio, he seeks to bridge the gap between architecture and interaction design.
Fanke originally trained as a Fashion Designer and Interactive Media designer. She holds a PhD in Interaction Design and Visual Communication. Her research profile encompasses visual thinking regarding design and craft practice, user experience design, digital craft and 3D virtual/real-time interaction.
Mouhannad holds a Computer Science degree and formerly ran his own web/software development business. Mouhannad has extensive experience in commercial and academic research projects, and is actively looking at future web and mobile standards for new fashion applications.
Nikos is a Graphics Software Engineer with production and academic experience and an R&D background in computer graphics. His professional interests lie in discrete geometry processing, GPU programming, physically-based simulation and data-driven animation.
Simon is a fashion designer, artist and creative consultant whose work has been concerned with finding and applying novel ways of conceiving and communicating fashion design.
Holly has a professional background in the use of digital media in art and design education. Her research interests include the application of 3D scanning in fashion design and visualization.
Nicky is a specialist in digital print for textiles and CAD for print. She has a background in printed textile design and has extensive experience of both new digital technologies and traditional textile print methods.
With a background in Visual Arts/Design and Mixed Media Textiles, Ricardo Matos is working as a textile freelance designer and consultant both for the Fashion industry and at educational levels. His research interests are Craft and Digital Textiles developments for Surface Design and Sustainable applications.
What is Digital?
Digital is electronic technology that creates, stores, and processes data.
Why is Digital so important for Fashion? Digital has already had a significant impact on the speed and access we have to fashion, from blogging and live streaming video, to online shopping for the latest style for our real or our avatar selves. Technology and fashion are now converging: from the way we capture data about people, their body shapes and style choices; to the way we design, manufacture and shop. So Digital will become increasingly important as we change and expand our definition of fashion through new and more immersive 3D experiences, products and services, and with this will come a number of opportunities and challenges.
“The creative industries must rise to the challenge offered by digital technology, with its many potential pitfalls and opportunities. The transition from the analogue to the digital world is transforming the distribution of content. It is also making it much harder to manage and value intellectual property. It is creating new business models and changing the value chains upon which they depend. It is demanding new skills, whilst cutting the costs of production and distribution. While all this is most evident in the content-based industries of software, games, music, television, radio and film it has equally profound, if less obvious, consequences for architecture, design, fashion and advertising. If they are to prosper from these changes, the creative industries must have the strategic ability to understand the impact of new technology and the practical ability to exploit it.” DCMS Creative Britain Report