by christina.lamprecht -

Existing Research and Projects/Field Research 

Needlebound by Daizy Chains / Hayley Mortin 

Overview

Needlebound is a publication on fibre arts and artists created by Hayley Mortin, knitwear designer and founder of the Daizy Chains Project, a knitting project that combines digital art, digitalization and AI research with knitting. 

Hayley Mortin/Daizy Chains

Hayley creates works influenced by data science in relation to developments in AI. Through her day job she is in contact with AI products and research about different aspects of AI especially in relation to data and imagery, all in the field of UX Design. Some of the images from these research papers find their way from her workplace to her knitting, and get reproduced in the shape of wearable, tangible items. Through this connection she opens up the conversation about the intersection of digital and analogue, and additionally the intersection of data and crafts. 

The publication

The aim of the publication is to share projects, research and personal stories of artists active today in modern shapes of fibre arts, mostly knitting and crochet, as well as production of yarn, think dyeing and spinning. “A common thread in the fibre arts community is the shared appreciation for creating something tangible, a piece that can be held and felt in contrast to our screen-dominant lives. Needlebound provides a space where fibre artists can share their stories and perspectives in a place that is not dominated through platform algorithms.” (https://dazychains.ca/needlebound)

The publication features 34 articles that show the different unique perspectives on fibre art and its relevance for todays culture and art scene. 

One aspects that gets a lot of attention, not only in Needlebound Vol.1, but also in several separate research papers and articles is the communal practice of crafts. In the Editors Letter, Hayley mentions fibre arts as being historically both solitary and communal, the act of knitting often transforming into a cultural activity that “weaves together social bonds”. (p.10) The more isolated and solitary side of fibre arts mostly developed through the industrial revolution, when the production of textiles and wearables was moved to factories, and the communal tradition of the craft was confined to those spaces, and eventually became a solitary act. (p.11) In “How Far Are You”, an article by Belinda Suen and Molly Berlin inside the publication, they have a conversation about their joint project of knitting the same sweater apart but simultaneously, and therefore touch on this topic of community. Molly Berlin says “Even when not physically knitting together with others, I think knitting is a perfect representation of communion. Knitting is pooling resources with each other […]. It is sharing ancestral Knowledge and traditions and information. Knitting for some has been survival and the survival of loved ones, or an expression of that love”. (p.59) 

In “Spun Structures, Fluid Forms”, the article’s author, Valentine Geze, defines the grid like structure of knitting as the main factor of interest. She talks about how through her background in engineering, the structural approach to a handmade craft drew her to it. Additionally she mentions the inherently feminist nature of the craft, since “the history of garment making is inextricable from women’s history”. (p.24)

“Its associations with housewives became more pronounced after the world wars and Great Depression, when women were encouraged to knit for the war effort, or turned to knitting and mending out of necessity; knitting still maintains connotations with the familial structures, gender roles and tastes of women who embraced it long ago.“ (https://www.bbc.com/culture/article/20200630-how-knitting-became-cool)

Also mentioned by Emma Claire Foley in “Grid Limits” the clearly structural approach to such a soft medium seems to be of interest to multiple of the authors included in Needlebound VOl.1, as well as multiple of the researches in this field outside of the publication. In this article it is not necessarily the structural guidance of the grid that seems to be of interest, but rather the possibility of infinitive options, inside such a finite frame as the grid with its defined size and proportions. She also speaks on the fascination with grids that she noticed in herself and others, especially after her introduction into filmmaking. “If you think about it, the analogy runs to the foundation of the medium: digital images are formed by tiny points of light, and by patterning them at larger and larger scales, by making them sufficiently tiny, we can persuade the eye to stitch them together into a full, colorful image, grid after grid flashing by. […] The grid appears when things break down: people love to post the broken LCD ad boards across the city, orderly lines of cyan, hot green and red spidered over by cracks in the glass”. (p.39) 

Thoughts

One of the reasons why this magazine seemed relevant to the research was the fact that, as Hayley says about the publication, there are not really any other publications that collect fibre artists’ perspectives on the craft, and provide such a space to their words. This collectiveness and community seemed particularly important to me since it is one of the possibilities I see for design to evolve and learn from traditional crafts. Design has become an extremely solitary act, considering not only working from home, but especially the withholding of information, resources and the shyness (or fear of plagiarism) that keeps designers from sharing their work with others. The solitude of the work is not only something that designers struggle with, but that, in my opinion, also influenced the industry as a whole to be more competitive and less communal. 

(Mortin, Hayley (Hrsg.): Needlebound Volume One.)

by christina.lamprecht -

Typographic Design and the Influence of Materiality

A popular way of combining design and textiles is in the field of typographic design and type design: Typeknitting (as it is sometimes known as). The pixel-like nature of construction in knitting grids and the possibility of color changes basically offer a pixel grid for various designs that can be realized in knitted matter. Although, with consideration for the fact that the “pixels” in knitted pieces resemble a “V” more than a square, which can mess with the contrasts and contours of shapes. 

This specific interest in knitting letters relates to the growing interest in alternative materials for typography and type design. There have been experiments hand lettering with sauces, melting ice cubes that shape glyphs, text etched into fruits and decomposing, etc. – the text itches to leave the canvas and make its way into our lives. While text on textiles is a traditional concept, there have been projects transforming the practice into more concept driven pieces, or even projects that use the limitations of the medium as guidelines for new type design. 

Ismahane Poussin researched knitted type for her masters thesis and started designing a font for herself to knit with, inspired by football scarfs (so called Jacquard knitting). 

“As she continued her experiments, she began noticing the ways the knitting machine contributed its own abstract aesthetics and quirks to her designs. ‘The letters are played around as if my machine was also a type designer: the letters are wider if we knit vertically, for example.’” The project culminated in a series of wearables that thematized fast fashion, an example of textile work referencing its own history and process. 

(https://www.itsnicethat.com/articles/ismahane-poussin-graphic-design-140422)

Another designer that was inspired by football scarves is Rüdiger Schlömer, author of “Pixel, Patch und Pattern”, a book on type knitting. He designed the “Knit Grotesk” font, basically a low resolution pixel font inspired by Futura, that was created to both be knitted and used regularly on screens and printed matter. In the making of the font, the process of knitting was considered, so that even if the font is used on regular designs, there should be a tactile and textile quality to it – the font existing both in design and craft, and in the inbetween. (https://www.itsnicethat.com/articles/rudiger-schlomer-knit-grotesk-graphic-design-project-230424)

There are a number of downloadable fonts that are either inspired by textiles and knitting, made to look like textiles and knitting, or actually serve as direct patterns. Some examples include Yarndings, StitchinKnit, and CrossStitch. 

by christina.lamprecht -

Social Gatherings in Craft Communities

While in craft circles like knitting there are numerous possibilities to create social interaction around the work, graphic design offers relatively few outside of the scholarly experience.

Tracing back to the domesticity of knitting, that mostly arrived to households in the 19th century, knitting often became a joined activity for women, meeting every week in alternating homes, and crafting together, the social interaction as important as the work. Knitting, as well as other textile crafts and traditionally feminine crafts, seems to be reclaimed by modern feminists, using the femininity of the technique as a starting point for design and fashion projects. Additionally, since the feminist ideologies often align with the interest in those feminine crafts, the social gatherings of knitters and crafters often serve as groups to discuss these ideologies and ideas, and can lead to groups venturing into social and political territory additionally to fashion and design, and naturally also combining the two. “And while there are plenty of knitting groups based purely on fun and socialising around the world, like the Stitch ’n’ Bitch Groups, pub-based groups and LGBTQ-specific gatherings, knitting-based groups have also long been hotbeds of activism and progressive causes. Even though knitting circles remain the butt of many jokes, these spaces have radical implications.” (https://www.bbc.com/culture/article/20200630-how-knitting-became-cool)

In the graphic design field, there seems to be (at least to me, geographically confined and not all knowing) a lack of those gathering opportunities. I am deliberately choosing to not call them networking meetings, since the economic implications of networking do not align with the purely social ideas of craft circles and gatherings. One project that seems to combine the two aspects is Lola’s Club, a portuguese project offering design club meetings every month, where members or strangers can join for 3 hours to work on their individual projects, while connecting with others, exchanging ideas and enjoying the community. (https://www.instagram.com/lolas._.club/)

by christina.lamprecht -

Social Implications/Traditions of Craft VS the Solitude of Design 

Disciplines of Craft and Textile Production in specific carry a long tradition and vernacular culture with them, while graphic design has not been recognized as a discipline as long, when comparing the two. In some of the most influential works on the history of graphic design, e.g. Phillip Megs Works, the relationship between Design and Art has been honored, and mentioned as influential to Design on multiple historical occasions, while the relation between Craft and Design has not been mentioned in a significant way. Hyun Kim proposes in his research paper “The Significance of Constructing the Social Model of Craft in Graphic Design History Narrative” that this recent recognition of the field is to blame for a lacking narrative in graphic design history. He speaks on his worry for the future of graphic design, a future that is building up on roots that have yet to solidify. He worries about the narrative that has been created, and its benefits for future design and designers, as he feels like there has been a lot of emphasis on the looks of works, but not on their social implications. “The new technological changes suggest the need for alternative narratives to foster social visions that create meaningful values, which would be commonly shared in a community”. (Hyun Kim, p. 99) The graphic design narrative is, according to Hyun Kim, not only lacking in meaningful narrative, but also significantly lacking in community and social interactions. These social interactions and communal values are in contrast to design, inherently a part of craft. Since crafts originated from a social interaction at first, and more recently after the industrial revolution as a social movement, craft as a discipline automatically evolved into a democratic and political activity. 

Hyun Kim proposes that graphic design history, as well as future, would benefit from a closer relationship with crafts, to create a more socially conscious, politically and democratically active, and in general more social and interactive discipline. 

(Hyun Kim, Jung: The Significance of Constructing the Social Model of Craft in Graphic Design History Narrative. The Second Asian Conference of Design History an Theory – Design Education beyond Boundaries – ACDHT 2017 Tokyo 1-2 September 2017 Tsuda University)

by christina.lamprecht -

The Theory of Craft

By “Theory of Craft” in this context I want to research specifically about what makes craft on a meta layer, that is separate from any specific project or pattern, what there is to be said about the making of the thing, rather than the thing. And how the making of a craft object can be inspirational to the making of a design project, how the process can be influenced and changed.

Mostly, crafts are seen as a means to an end, a product that is mostly to be worn. But depending on the research, craft is also often seen as “a way of thinking through material” (Nimkulrat 2012) “In textiles as well as other material-designated disciplines, craft is understood not only as a way of making things by hand, but also as a way of thinning through the hand manipulating a material. […] Craft is thus ‘a means for logically thinking through senses’.” (Nimkulrat 2010) The material itself plays a more active role than in design disciplines: while the paper as a material of for example a poster only comes into play when the design is finished, in textiles the material itself is what builds the design, what the designer is working with, the work is building itself up row by row. 

The thought process behind a piece is most often seen as separate from the process of making it, maybe since there is a lot of work from patterns in craft that were designed by someone who is not the person making it. But the movements that create the piece, the tangibility and the connection to the physical object in the making can also be seen under a more philosophical lens. “The process of making objects by hand can be identified as one way of thinking intellectually” (Sennet 2008)

by christina.lamprecht -

Integrating Craft Philosophies into Modern Graphic Design 

(Yes I changed my topic again)

Introduction 

While Arts and Crafts have been in lively exchange and reference each other frequently (think of fibre arts as a genre, or soft sculptures), crafts and design are not necessarily as connected. Knitting has experienced a great upswing in recent years, but somehow simultaneously still feels disregarded as a craft for homebodies and grandmothers, where outcomes are to be worn but not necessarily to be appreciated in an artistic way. While this is a whole topic to be explored, including researching under a feminist lens into the whole genre of fibre arts, it is not exactly what this research aims for. There are some projects out there connecting design and typography with fibre arts and knitting, but mostly they concern themselves with bridging the gap between analogue and digital, and end up with knitted works that were informed by digital practices, or depict digitally designed concepts. While these projects offer a lot of perspective for creatives focused on fibre art and creating textile works, I want to try it the other way around. How can knitting influence graphic design? Typography, editorial and publishing? How can the process of knitting and graphic design relate? How can the tangible, physical, material craft of knitting inform the increasingly digital practice of design? How can craft philosophies be integrated into modern graphic design? How can factors like color, grid, texture and rhythm create a common ground between these opposing disciplines? How can a return to craft and handmade philosophies play a part in the future of graphic design (from the perspective of someone trying to be very mindful about the ways AI gets integrated into our processes)? And ultimately, does that even make sense and is there anything to gain from this experiment?

by hannah.wasserfaller -

Science Communication Online | Part 1

In the area of external science communication, online media and social media have seen a rise in relevance. The following blog post will explore the foundations and forms of this type of science communication in more detail.

Overall, it can be said that scientists and scientific institutions are hesitant in making use of science communication in online and social media for the public, while societal stakeholders like NGOs are more active in that field. Scientific topics are discussed very diversely in online media and are thus faced with the challenge of controversial topics being talked about by non-scientific actors. 

The usage of science communication has increased. As explained previously, science communication includes all communication focussed on scientific knowledge or scientific work, both within the institutionalized science and outside of it. It also includes the communication on different channels, one of which is online-communication. The relevance of this field has risen significantly throughout past years, so much that one cannot even call it a „new“ medium for science communication or „its future“, but must rather seen as an integral part of it. 

Online communication includes, on the one hand, „classic“ internet-communication such as science journalism or the display of scientific topics on websites. On the other hand, there is social media with the most prominent forms being the following:

  • So called „collaborative projects“ such as Wikipedia, where a large number of users works on one project
  • Blogs and Microblogs such as Twitter (now „X“)
  • Content communities such as YouTube, where users share visual, audio, or audio-visual content
  • Social Media Platforms like Facebook 

Source: https://link.springer.com/chapter/10.1007/978-3-658-12898-2_15

Science and Social Media 

As people are using social media more, it also means that they receive news via social media. A 2017 poll shows that 68% of adults in the U.S. see news on social media either incidentally or purposefully. News sources online are especially relevant when it comes to information on science-related topics. While many do not actively seek out information on scientific topics, the visibility thereof is still indicated with 55% of all U.S. adults reporting that they see posts on social media that are related to science. 18% of U.S. adults actively follow accounts or pages that are focusing on science-related topics. 

Social media is increasingly important as a source of information, especially when it comes to scientific topics. There are a few factors that should be considered in the entirety of this topic’s consideration.

It is yet to be explored how the available information is being translated into actual knowledge and attitudes toward science topics. Much of how humans gain knowledge is influenced by the demand, need, and acceptance of the acquirable information within an individual’s own worldview and their cultural background. For example, someone’s perceived need to learn or their motivation to acquire knowledge about a certain scientific topic correlates with the ability of gaining said knowledge. 

Furthermore, people with a higher socio-economic status (SES) or higher levels of education seem to have an advantage in their ability to retain and learn from information exposure over people with a lower socio-economic status. Certain media have the potential to shrink knowledge gaps (for instance television, as it has the potential to make information accessible to people with a lower SES). Media such as printed newspapers on the other hand often increase knowledge gaps. Information that is available online, which also includes science-related topics, is indicated to have positive effects, with the potential to decrease gaps.

Overall, research is showing that social media / online media in general is neither to be labeled as entirely bad or entirely good when it comes to accessing correct knowledge. 

Source: https://jcom.sissa.it/article/pubid/JCOM_2004_2021_A01

Therefore, it is to be assumed that making use of social media and online media tools to communicate scientific knowledge should not be underestimated and, in this author’s opinion, can be a very valuable tool if used consciously and responsibly both when it comes to creating, publishing and consuming content. 

by sopio.archilia -

Sustainability and Augmented Reality in Fashion

The global field of fashion that for a long time has been accredited for its talented and innovative designers is now in the hot seat concerning environmental problems. Within the current phase of global supply chain integration, high rates of consumption and waste, the sector is looking for ways to help sustain the environment. Of all the spectacular innovations that are expected to advance sustainable living, augmented reality (AR) proves to be a versatile force in the pursuit of sustainability. AR solves many of the current problems related to fashion such as hesitation of physical samples and returns, optimization of the design process, and helping a consumer make a sustainable decision.

AR and Sustainable Fashion: Reducing Physical Samples and Returns

One of the major ways through which AR is helping to fast fashion and sustainability is by designing and eliminating the need for samples and returns. This practice poses a great challenge to conventional fashion design and manufacturing activities where numerous sample garments are made in the design process. These samples, usually made from precious metals, are sometimes thrown away after use, thus becoming a waste (Pal & Gander, 2018). However, AR offers potential for designers and manufacturers to develop samples that could be tested, visualized and redesigned from the digital world. It also means that physical prototypes are no longer required during the first phases of development and the number of resources needed is cut down considerably. Besides the savings on physical samples, AR is also beginning to speak to the increasing issue of product returns. The major issue facing it is the high rate of returned products due to size and fitting problems in an e-commerce niche. This is especially the case since most consumers buy different sizes of the same type of clothes with the aim of returning the ill-fitting ones. This results in a high rate of shipping emission, a high rate in packaging wastes and in most instances customers return the products. AR technologies, including virtual try-on assistance enable a consumer to evaluate how clothes will look on them and check if they fit before purchasing them reducing chances of returning the item (Kim & Forsythe, 2008). Gucci and ASOS among other companies are already applying the use of AR to let buyers do the dressing virtually thus encouraging responsible consumption (Schneider, 2020).

Virtual Prototyping and Minimizing Waste in Design

It is very important to note that virtual prototyping, which is a core concept in the use of augmented reality, reduces wastage greatly in the design and manufacturing cycle. Formerly, fashion designers had to make a sample of a garment and make changes, if necessary, with the help of physical models; this process was called sample making and mostly resulted in wasted material, and if there were changes needed even a mere A4 piece of paper was used – scraps were thrown away after that. AR enables fashion designers to build virtual models that enable them to practice various designs, material, and texture before having to make actual materials (Song & Ashdown, 2015). When applied to design, it allows for precise imaginative genuinely of how certain design will drape, fit and look like without physically making it. This goes a long way in decreasing the trial and error that is usually time wastage. Moreover, such prototypes can be presented to a number of teams and other stakeholders for evaluation, or put for approval, all this without having to physically build any artifact. It also helps to cut time wastage while also saving the environment through the following explanations: Furthermore, there is an advantage for the brands, as they are able to minimize overproduction through use of virtual prototyping services. The problem that we find severely affecting the fashion industry is overproduction, which leads to leftover products that are worthlessly disposed of or burned. There is nothing like testing market receptiveness toward digital garments through AR before investing a lot of production and resources. It reduces the chances of having excess inventory which is addition to creating a burden on the environment through dispose of (Choi & Kim, 2021). 

Educating Consumers about Sustainable Fashion Choices

Apart from its application in the design and manufacturing processes, AR offers possibilities in informing consumers about environmentally friendly fashion. One greatest challenge that faces the fashion industry is that it has no fashion transparency which does not enable a consumer to know the extent of the fashion item they are buying was environmentally friendly. AR can fill this gap as it offers immediate information on the sustainability of the garments. For instance, the application of augmented reality in consumer products enables individuals to point the camera of their phone at a piece of clothing and get further details on fabrics used in the product, the environmental impact of the product, and the production standard of the manufacturers (Jung & Lee, 2020). Despite this, this increased transparency can help the consumer make more conscious decisions to shift towards better brands and that include environmentally friendly products. It can also lead to increased understanding of the life cycle of the clothes from production to when it is discarded and effective practices such as up cycling, recycling, and buying from sustainable fashion production lines. Some brands are using AR to help consumers learn more about products and services and there are already many popular brands that use this technology. For example, Stella McCartney has added AR technology in its stores where people are given information about the company’s policies on sustainability and how each product helps the environment. Likewise, there is an AR app called Good on You that offers consumers augmented reality-based assessment of fashion brands depending on the sustainable measures they take (Niinimäki et al., 2020).

Challenges and the Future of AR in Sustainable Fashion

However, the study aims to show that even though AR is a great tool of marketing sustainability in fashion it is not without complications. The integration of AR technology obviously involves a considerable investment in both infrastructure and knowledge. Newer brands can be a little slow in adapting to the use of AR tools because of the costs that are usually incurred. Also, the ability of providers to convey AR to the broad consumer base will also depend on the readiness of accessible, user-friendly, and equipment-free platforms. Nevertheless, getting to that point and giving AR the opportunity to change the fashion industry for good is possible. In the future, with the advancement in technological devices, it is expected that AR will reduce in cost by making more brands to incorporate it in sustainable strategies. AR could even help to design more circular fashion systems in the future where the buyer gets to know how much the products opposite them will contribute to the environment from production to extinction. 

Conclusion

Therefore, augmented reality becomes the key finding as a strategy towards sustainability within the fashion sector in this research. From elimination of need of a physical sample, minimizing return of the product they have no use for, helping developers design products without having to manufacture a large number of prototypes, and enlightening the consumer on the correct option to pick in a bid to save the environment, AR has made the following ways of cutting out waste and conserving resources possible. Shifts in AR technology is also expected to grow in support of sustainable fashioning for brands and consumers will experience enhanced ways of making sustainable choices. The fashion industry, which is so far noted for most of the environmental issues, is standing on the brink of a technological revolution that has the potential of wedding fashion and creativity with sustainability.

References

Choi, T.M. and Kim, H.M., 2021. Environmental sustainability of the fashion supply chain: A circular economy approach. Resources, Conservation and Recycling, 168, p.105291.

Jung, J. and Lee, J., 2020. Customer engagement in augmented reality shopping: The mediating role of immersion, shopping enjoyment, and perceived value. Journal of Retailing and Consumer Services, 53, p.101987.

Kim, J. and Forsythe, S., 2008. Adoption of virtual try-on technology for online apparel shopping. Journal of Interactive Marketing, 22(2), pp.45-59.

Niinimäki, K., Peters, G., Dahlbo, H., Perry, P., Rissanen, T. and Gwilt, A., 2020. The environmental price of fast fashion. Nature Reviews Earth & Environment, 1(4), pp.189-200.

Pal, R. and Gander, J., 2018. Modelling environmental value: An examination of sustainable business models within the fashion industry. Journal of Cleaner Production, 184, pp.251-263.

Schneider, J., 2020. Virtual fashion: How brands are embracing digital clothing in a sustainable future. Vogue Business.

Song, H.K. and Ashdown, S.P., 2015. Development of automated custom sizing of apparel using scanned body measurements. Textile Research Journal, 85(12), pp.1269-1280.

by sopio.archilia -

AR-Enhanced In-Store Experiences: Blending Physical and Digital Retail

With the changing environment in the retail industry, more physical store space is utilizing AR to deliver the common client’s engaging buying experiences. When most sales occur through the internet thanks to its accessibility, physical stores are using AR as the means to combine physical and virtual spaces in the most innovative ways seen before. Products such as AR mirrors, interactive displays, and virtual personal stylists represent the new generation in shopping technologies and are shifting the role of shopping into an interactive, engaging and dynamic experience.

Rise of AR in the Brick and Mortar stores.

Growth of e-commerce has proved very challenging to traditional retail stores or shops. As a result, most traditional retailers have gone further and adopted AR as a way of attracting people to come shop at their physical stores. AR aids these stores to provide experiences that cannot be attained online, which will make customers seek physical experience.

One of the ways that AR is boosting in-store actual substance shopping is through developing interactivity that is directing. AR which embeds digital content into the physical world makes it possible for consumers to read more about a product and how it will appear when brought home or even enable shoppers to buy clothes without having to use the trial rooms. Not only do these features add entertainment as well as functionality to the shopping process but they also address the recent and continuous trend for more bespoke marketing.

Further, through the help of AR technology, store is capable on giving recommendations based on the customer’s preferences in real time. Now whether through mobile applications or in-store layouts customers get prompt recommendations regarding their preferences increasing chances of a sale and enhancing total satisfaction. And I think that combination of digital with the physical touch point is crucial for the reactivation of the physical retail store environments (Clark and Johnson, 2023).

AR Mirrors: A Game Changer in Fashion Retail

Another interesting use of AR in physical stores is the concept of the AR mirror in a store. Often referred to as ‘smart mirrors’ or the ‘virtual dressing rooms’, such gadgets help the clients understand how particular forms of clothing would fit them without having to put them on. With the help of the mirror interface users choose different garments, accessories and sometimes even makeup to see how such outfits will look in real life.

For instance, Zara and Neiman Marcus stores have incorporated the AR mirrors in their business Premise. Some of these mirrors come with cameras and sensors that display clothing that the customer can see in the mirrors and quickly go through the entire assortment. It quickens the shopping experience and keeps the inconvenience of going physically naked while dressing to dress and at the same time enabling customers to try different outfits on (Doe and Garcia, 2024). Moreover, regular AR mirrors are frequently accompanied by social sharing options to let the customers share their outfits with friends or post them on social media, all of which increases interaction.

They also have a critical role in enhancing diversity of body types. For instance, AR mirrors are convenient to use when selecting clothes since those with mobility problems will not have to battle with fitting rooms. Also, with the help of providing customers with real-time sizing, clients can make a better choice regarding purchasing garments as the likelihood of returning clothes will be considerably lower, and, therefore, customer satisfaction will increase.

Interactive Displays and Virtual Styling Assistants

Besides AR mirrors, another essential element of the AR shops is making a turnaround to becoming an interactive territory. These types of displays become large touch panels or projection types that enable customers to select products in a manner that was not feasible before. For example, a client can use the touchpad to select a product in order to get information on its performance, comments by other users, and stock status. They can also use the interactive technologies to make their own cloths combination, selecting colors or even getting ideas of how the furniture will look at their homes.

A well-known specimen of this kind of technology is IKEA’s application that lets users visualize home furnishings with the help of smartphone cameras. However, IKEA has also moved to incorporate some of these features physically in its stores with clients being able to employ touch screen kiosks to select from a variety of options and then make a visualization of how certain furniture items on display will look when placed together. This makes the process easier and is a more engaging approach to shopping and can also reduce decision-making (Smith and Adams, 2023).

Furthermore, with the development of advanced technologies, service companions, such as virtual styling assistants, form a part of a powerful means of personalization. These digital stylists typically rely on artificial intelligence to understand the customer’s buying history and further shopping behavior when compiling the suggestions list. AR taken to the next level where the customer can see not only the individual piece but an entirely coordinated look. For instance, Levi’s provides its customers with an AI-based AR stylist who recommends clothes and how they could look wearing it and shows the result on a screen. Such instant feedback empowers customers for surety in final purchase, and seamless integration of physical and digital aspects of shopping.

Blending Physical and Digital Retail: The Phygital Experience

In the light of the existing AR technology, the division between the tangible and virtual purchasing process is gradually fading out to create the so-called phygital experience. It is a term used to describe the proper combination of both physical and digital aspects of the store to provide the client with a smooth shopping experience based on the need and appetites of both worlds.

AR fits seamlessly into the customers’ lifestyle where they can switch from physical to digital interface. For example, a customer is in a store, and they use the smartphone to scan a given product’s bar code to get more information about the product; information such as customer reviews and other products which are related to this particular product. Instead, they can use the store’s AR app to see it in a home or on their body making advantage of e-commerce in physical store.

Even more stores are performing this one step further through the integration of mobile apps with augmented reality that not only drives customer engagement but also offer the consumers some form of incentive or reward for their in-store shopping activities. For instance, some stores let a consumer accrue points every time they scan a product with their smartphone, which they can later be exchanged for such things as a discount of some sort or an exclusive offer. This encourages the customer to interact more freely with the brand, so they become more loyal to it, (Harris and Lee, 2023).

The same way, the phygital approach has profound implications in elevating sustainability in the retail business. Consequently, by allowing consumers to ‘virtually’ put on a garment or try other products, AR can help retailers reduce how much stock is kept on the shelves and, thus, reel in unnecessary waste. In addition, its sizing and fit advice give consumers exact measurements, which help in limited returns, one of the biggest indicators of environmental waste in the fashion sector according to Jackson and White, 2023.

Conclusion

Consumer usage of physical stores is evolving quickly toward the use of augmented reality that helps enhance convenience and sales experience. Other current applications of this technology include use in assisted selling through retailers’ AR mirrors, using interactive displays, and virtual styling assistants. With AR being still in development, integrating a physical store with an online store will become seamless thus paving the way for the new “phygital” shopping experience.

References

Clark, A. and Johnson, M., 2023. Revolutionizing Retail: The Role of AR in Enhancing Brick-and-Mortar Experiences. Journal of Retail Technology, 10(2), pp.30-42.

Doe, L. and Garcia, R., 2024. Virtual Dressing Rooms: How AR Mirrors Are Changing the Fashion Landscape. International Journal of Fashion Technology, 8(1), pp.45-59.

Harris, P. and Lee, S., 2023. Phygital Retail: Bridging the Gap Between Physical and Digital Shopping. Retail Innovation Quarterly, 6(3), pp.22-33.

Jackson, T. and White, J., 2023. Sustainable Fashion with AR: Reducing Waste through Virtual Try-Ons. Sustainability in Retail Review, 9(4), pp.12-23.

Smith, K. and Adams, N., 2023. IKEA’s AR Journey: How Interactive Displays are Revolutionizing the Home Goods Market. Journal of Retail Innovations, 11(2), pp.37-49.

by jessica.karkheck -

Waffengattungen und ihre (mehr oder weniger) korrekte Handhabung in Filmen

Wenn man an Historienfilme oder klassische mittelalterliche Heldenepen denkt, so ist das Langschwert oft die Waffe der Wahl für den Protagonisten. Es gilt als Symbol für Ritterlichkeit, Ehre und Stärke, doch wie realistisch werden die Kampftechniken mit dieser Waffe tatsächlich dargestellt? Während Langschwertkämpfe in Filmen häufig stilisiert oder historisch ungenau inszeniert werden, zeigen sich bei anderen Waffengattungen oft überraschend präzise Choreografien. Besonders Rapiere und Säbel, die im Vergleich zum Langschwert „modernere“ einhändige Waffen sind, ermöglichen einen schnelleren und wendigeren Kampfstil – und werden entsprechend anders in Szene gesetzt.

Der Grund für diese Unterschiede liegt unter anderem in den überlieferten Quellen. Während für Rapiere und Säbel zahlreiche detaillierte Fechtbücher existieren, die ihre Anwendung präzise beschreiben, sind die ältesten Manuskripte zum Langschwert, wie die Merkverse von Johannes Liechtenauer, oft kryptisch verfasst und lassen Raum für Interpretation. Doch wie wirkt sich das auf die Darstellung in Filmen und Spielen aus? Und welche Produktionen schaffen es, historische Fechttechniken authentisch auf die Leinwand zu bringen? In diesem Blog werfen wir einen genaueren Blick auf die Umsetzung verschiedener Waffengattungen und analysieren, wo Film und Realität sich überschneiden – und in welchem Film sie in Perfektion eingefangen wurde.

Eine Übersicht von Waffen-Archetypen, zu welcher Zeit sie verwendet wurden, in welchen Sprachen Quellen dazu existieren. 1

Langschwert: Schwierige Rekonstruktion, stilisierte Darstellung

Das Langschwert war eine der wichtigsten Waffen des Mittelalters und der Renaissance. Seine Technik ist in Fechtbüchern wie denen von Johannes Liechtenauer (15. Jahrhundert) oder Fiore dei Liberi (14. Jahrhundert) überliefert. Doch diese Werke sind oft in metaphorischer Sprache verfasst oder Fechtstücke sind nur grob anhand eines Bildes und einem erklärenden Satz grob zusammengefasst, was eine direkte Anwendung erschwert und viel Interpretationspielraum lässt.

far nach zwayen dingen
sind aller kunst ain ursprung
din schwöch und din sterck
din arbait darby eben merck
So machstu lern
Mit fechten dich erwern
wer also erschricket gern2

Das europäische Langschwert war über Jahrhunderte eine der wichtigsten Waffen im Zweikampf und auf dem Schlachtfeld. Doch wenn es um die filmische Darstellung geht, geraten die Kämpfe oft ins Reich der Fantasie. Während das Langschwert in historischen Fechtbüchern wie denen von Johannes Liechtenauer (15. Jahrhundert) oder Fiore dei Liberi (14. Jahrhundert) ausführlich beschrieben wird, sind diese Texte oft metaphorisch und schwer verständlich. Die Anweisungen sind nicht immer eindeutig, sodass heutige Fechtmeister und Choreografen auf Interpretationen angewiesen sind.

Filmbeispiele: Langschwertkämpfe zwischen Realismus und Übertreibung

  • The King (2019) – Roh, ungeschönt und authentisch
    The King präsentiert eine der realistischsten Darstellungen mittelalterlicher Kampfkunst mit dem Langen Schwert. Die im Film gezeigte Duellszene zeigt hierbei eindrucksvoll, wie Harnischgefechte dazumal höchst wahrscheinlich aussahen. Im Film angewendete Techniken können durch das Dresdner Fechtbuch von Paulus Hector Mair, das Gladiatoria 3Fechtbuch sowie den Illustrationen des Wiener Fechtbuches (Cod.11093)4 belegt werden.
  • Braveheart (1995) – Breite Schwünge für die Kamera
    Mel Gibsons Braveheart inszeniert die Schwertkämpfe mit riesigen überstilisierten Ausholbewegungen und lässt die Charakteren dabei nicht auf Distanz und Schutz achten – hier wird eindeutig für den dramatischen Effekt als für historische Genauigkeit gekämpft.
  • Ironclad (2011) – Wenn Chaos zur Inszenierung wird
    Der Belagerungsfilm Ironclad setzt auf kompromisslose Härte und schmutzige, brutale Kämpfe. Doch während der gesamten Gewalt, fehlt in den Ausführungen der Angriffe oft eine klare Struktur in den Bewegungen, wodurch diese in einigen Szenen eher an instinktives Schlagen als an echte Fechtkunst erinnert. Insbesondere das gegen Ende des Films beidhändig geführte Falchion, welches der Grifflänge zufolge klar einhändig geführt werden sollte, unterstreicht den Level an Realismus, der dargestellt wird.

Rapier und Degen: Die Kunst der schnellen Stiche

Mit dem Aufkommen der Feuerwaffen im 16. und 17. Jahrhundert wurden schwerere Klingen zunehmend durch leichtere, schnellere Waffen ersetzt. Die Fechtkunst dieser Zeit wurde in zahlreichen präzisen Fechtbüchern festgehalten, darunter Werke von Ridolfo Capo Ferro (1610) oder Salvator Fabris (1606). Diese Quellen bieten exakte Beschreibungen und Illustrationen, wodurch Fechtchoreografen auf umfangreiches Material zurückgreifen können.

Filmbeispiele für Rapiergefechte

  • The Duellists (1977) – in der Kürze (der Duelle) liegt die Würze
    Ridley Scotts The Duellists bietet einige der historisch akkuratesten Rapier- und Säbelgefechte in der Filmgeschichte. Die Duelle sind nicht nur präzise, sondern auch taktisch und scheuen dabei auch nicht davor zurück zu zeigen, dass ein solches Duell nur wenige Sekunden dauern kann.
  • Cyrano de Bergerac (1990) – Fechten als Charakterzeichnung
    Gérard Depardieus Cyrano setzt das Rapier nicht nur für den Kampf, sondern auch für theatrale Gesten ein. Die Fechtszenen zeigen eine Mischung aus historischer Genauigkeit und theatralischer Überhöhung, was die Verspieltheit des Charakters unterstreicht.
  • The Three Musketeers (1973) – Präzise, aber stilisierte Fechtkunst
    • Die klassischen Mantel-und-Degen-Filme der 70er Jahre setzen zwar oft auf reale Fechttechniken, übertreiben aber ihre Eleganz.
    • Dennoch sind die Musketeers-Filme deutlich näher an historischer Fechtkunst als viele mittelalterliche Filme.

Säbel: Präzision in Bewegung

Eine der am besten dokumentierten Waffen ist der Säbel. Besonders im 18. und 19. Jahrhundert wurden detaillierte Fechtbücher erstellt, darunter „The Broad Sword and Single Stick“ von Roworth (1798) oder „Cold Steel“ von Alfred Hutton (1889). Diese präzisen Quellen ermöglichen es, Säbelkämpfe in Filmen mit hoher technischer Qualität umzusetzen.

Fechterische Perfektion im Film: Born for the Saber (2019)

Der polnische Film “Born for the Saber” (Zrodzeni do Szabli) ist ein außergewöhnliches Beispiel für die korrekte Darstellung historischer Säbeltechniken. Er zeigt die Kunst der polnischen Husarenfechter, die im 17. Jahrhundert für ihre Schnelligkeit und Effizienz berühmt waren.

Analyse der Fechtchoreografie

  • Technische Präzision:
    Die gezeigten Säbeltechniken basieren direkt auf historischen Quellen und werden mit extremer Detailgenauigkeit umgesetzt. Schnelle, präzise Hiebe und Paraden bestimmen die Kämpfe – ein klarer Kontrast zu vielen Hollywood-Filmen.
  • Körperbewegung & Fußarbeit:
    Born for the Saber stellt die feine Fußarbeit und das taktische Distanzspiel des polnischen Fechtstils korrekt dar. Die Kämpfer nutzen weite Ausweichbewegungen und schnelles Umschalten zwischen Angriff und Verteidigung.
  • Vergleich mit anderen Filmen:
    Im Gegensatz zu Fluch der Karibik, wo der Säbelkampf oft spielerisch und überzogen wirkt, oder The Patriot, wo Hollywood-typische Übertreibungen dominieren, bleibt Born for the Saber vollständig der historischen Realität verpflichtet.

Fazit: Warum spätere Waffen realistischer dargestellt werden

Je neuer die Waffe, desto präziser sind die überlieferten Quellen – und desto realistischer können Filmszenen gestaltet werden. Während Langschwertkämpfe oft stilisiert oder falsch interpretiert werden, profitieren Rapier- und Säbelgefechte von exakten historischen Beschreibungen.

Born for the Saber zeigt eindrucksvoll, wie detailgetreu und spektakulär eine korrekte Darstellung von Fechttechniken sein kann, ohne dabei die Dramatik zu verlieren. Dies beweist, dass historisch akkurate Kampfszenen nicht nur realistisch, sondern auch atemberaubend sein können – wenn sie mit Sorgfalt und ausreichend Fachwissen seitens des Choreografen und auch der Schauspieler inszeniert werden.

  1. INDES, Fachbereich Forschung ↩︎
  2. Merkvers von Talhofer, Transkribiert von Dieter Bachmann ↩︎
  3. https://wiktenauer.com/wiki/Gladiatoria_group
    ↩︎
  4. https://wiktenauer.com/wiki/Wiener_Fechtbuch_(Cod.11093) ↩︎