IDEATION

ITERATION PROTOTYPING USER TESTING

Figure 1. Design process: highlighting opportunities
for improv methods to intersect with design.

THEORY INTO PRACTICE

My undergraduate thesis investigates opportunities of improv
theatre techniques as a methodology for the early stages of
design, which aims to create a platform for fashion designers to
work with zwec. The research involves determining its optimal
use and ability to provide value as a generative tool to facili-

tate collaborative embodied cognition in material and design
practices with less risk [4]. A series of co-creative sessions are
activated by the facilitator (myself) guiding the group (design
team) to gain cognitive collaborative flow, and progressively work
through activities that: (1) highlight an aspect of ZwPc (2) the
group can identify some key take away pieces (3) the group can
later discuss, reflect and analyze.

Thad the opportunity to facilitate a co-creation session with the
design team at the Lululemon Lab. A 45 minute session, includ-
ing warm-ups, ideation games and iterative ZWPC activities,
including one called “Cutting and...” It involved each participant
improvising their own cutting technique, and then collectively
choosing one of the 5 new techniques to create a garment with.
Divided into 2 groups, they each had 10 minutes to construct a
garment and were then asked to do a “walk off” to explain their
designs. The objective was for each individual to ideate a cutting
technique through improvisation, then choose as a group one
technique to iterate a garment with. Working in this way, the
group can identify the most viable option to move forward with.

Alls participants embodied a “yes and...” attitude of sponta-
neity, creating collaboratively and engaging in the process. There
was a significant increase in their energy with comments of
delight and intrigue in the potential of this as a tool for fashion
designers. Further research with user validation is underway and
opportunities for material artifacts are still being realized.

REFERENCES

[i] Gerber, E. Improvisation Principles and Techniques for Design. San Jose, CA:
ACM CHI, 2007. https://dschool.stanford.edu/sandbox/groups/k12/wiki/73bac/
attachments/4ffd 6Gerber_Design_Improv.pdf sessionID=4a0b9f72819331f-
d36a92ede4be5c622d3af2923 [2] McQuallan, H. Using design practice to negotiate
the awkward space between sustainability and fashion consumption. International
Foundation of Fashion Technology Institute (iFFTI) Conference Proceedings, 2009.

CONCLUSION

Once designers begin to identify improv theatre techniques as a
tool, they can adapt this as a methodology for their creative pro-
cess that benefits their collaborators, users and end product. In
closing, Gerber notes that “the value of improvisation is in the
potential it holds to unleash creative action for individual design-
ers and design teams... although there is much work to be done to
blend the rich traditions of improvisation and design” [1].

Figure 2. The framework for the workshops is rooted on embodied collaborations
within the creative process through both individual and group activities.

http://www. ifftiiccom/downloads/past_conferences/ LCF,4202009/McQuillan_Holly.
pdf [3] Rissanen, T. From 15% to 0: Investigating the creation of fashion without fabric
waste. Creativity: Designer Meets Technology Conference, Copenhagen, 2005. https://
www.aca demia.edu/3762020/From_15_to_0_Investigating_the_creation_of_fash-

ion_without_the_creation_ of_fabric_waste [4] Schleicher, PJ., Kachur. Badystorming
as embodied design. Interactions Nov-Dec, 2010. 47-51.

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SUSTAINABILITY & SOCIAL INNOVATION