羅蘭巴特流行體系公式創作生成式AI時尚的實驗:慈禧太后與維多利亞女王的虛擬時尚對話
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2024
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2019 年末開始,COVID-19 影響全球人民,生活因社交距離限制而產生重大變化,線上工作與學習成為主流,人們開始重視數位場域的社交媒體與個人形象。同時間,臉書創辦人馬克祖克柏也宣布「元宇宙」的來臨,並將公司改名為 meta。在服裝產業,媒體及大型品牌開始經營虛擬空間與推出線上時裝秀,結合虛擬實境技術,滿足消費者新鮮體驗,也提供設計師新的探索空間。由於虛擬服裝無需受限實際的身體、色彩與材質等物質介面,也可以無限制地不斷設計與產出虛擬服裝,意外的與羅蘭巴特「無以窮盡的服裝」想法接軌。羅蘭巴特《流行體系》一直是服裝產業、時尚媒體產業、學界研究的經典文本,其符號學的「能指」點出了媒體書寫服裝、創造時尚的公式,進而創造出「實體服裝」、「書寫服裝」、「意象服裝」相互作用的觀點。本研究以此為理論靈感來源與基礎,分析實體服裝與數位服裝的生態模式,並且實際採用3D數位設計平台、人工智慧生成圖像平台設計服裝,不論未來實體生產、或成為數位服裝,都為實體服裝與虛擬服裝整理出一個可操作模式,因此提出「鑽石理論」希望為新投入服裝設計領域的人們提供一開闊視野與可操作模式。
From late 2019, COVID-19 began impacting people worldwide, ushering in significant lifestyle changes due to restrictions on social interaction. online work and learning became the norm, emphasizing the importance of digital spaces and personal branding. Concurrently, Facebook's founder, Mark Zuckerberg, heralded the arrival of the "metaverse" and rebranded the company as Meta. In the realm of fashion, media, and major brands, there emerged a focus on virtual spaces and the introduction of online fashion shows, integrating virtual reality technology. This trend aimed to fulfill consumers' desires for novel experiences while offering designers new realms for exploration. Virtual clothing, devoid of constraints related to physical bodies, colors, or material interfaces, can be continuously designed and produced limitlessly, aligning unexpectedly with Roland Barthes' concept of "endless clothing." Barthes' semiotics within the fashion industry, fashion media, and academic research have been a classic text. His notion of the "signifier" highlights the formula for media in writing clothing and creating fashion, establishing perspectives where "physical clothing," "written clothing," and "imaginary clothing" interact. This study draws theoretical inspiration and foundation from Barthes' concepts to analyze the ecological models of physical and digital clothing. It practically employs 3D digital design platforms and AI-generated image platforms to design clothing. Whether for future physical production or as digital clothing, it aims to establish an operational model for both physical and virtual garments. Hence, the"Diamond Theory" is proposed, intending to offer newcomers in the field of clothing design a broadened perspective and a functional framework.
From late 2019, COVID-19 began impacting people worldwide, ushering in significant lifestyle changes due to restrictions on social interaction. online work and learning became the norm, emphasizing the importance of digital spaces and personal branding. Concurrently, Facebook's founder, Mark Zuckerberg, heralded the arrival of the "metaverse" and rebranded the company as Meta. In the realm of fashion, media, and major brands, there emerged a focus on virtual spaces and the introduction of online fashion shows, integrating virtual reality technology. This trend aimed to fulfill consumers' desires for novel experiences while offering designers new realms for exploration. Virtual clothing, devoid of constraints related to physical bodies, colors, or material interfaces, can be continuously designed and produced limitlessly, aligning unexpectedly with Roland Barthes' concept of "endless clothing." Barthes' semiotics within the fashion industry, fashion media, and academic research have been a classic text. His notion of the "signifier" highlights the formula for media in writing clothing and creating fashion, establishing perspectives where "physical clothing," "written clothing," and "imaginary clothing" interact. This study draws theoretical inspiration and foundation from Barthes' concepts to analyze the ecological models of physical and digital clothing. It practically employs 3D digital design platforms and AI-generated image platforms to design clothing. Whether for future physical production or as digital clothing, it aims to establish an operational model for both physical and virtual garments. Hence, the"Diamond Theory" is proposed, intending to offer newcomers in the field of clothing design a broadened perspective and a functional framework.
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人工智慧時尚, 慈禧太后, 服裝設計流程, 虛擬服裝, 維多利亞女王, AI fashion, Empress Dowager Cixi, fashion design process, Virtual Clothing, Queen Victoria