Descience

Welcome to Descience, a project in which the world of scientific discovery offers inspiration for the innovative minds of fashion designers. Descience creates collaborations between designers and scientists and brings research to the runway, providing a platform both for emerging designers and for science.

[fashiondescience]

Team Quorum54 imagines clothing that cures cancer.

[fashiondescience]

Cerebella Design Shares Science in Style BY ARIELE FABER

It’s no secret that learning does not begin and end in school; in fact, it is happening with every new experience you have, from navigating a new city to watching House re-runs and diagnosing patients with Hugh Laurie. Schools are formal learning environments, whereas informal learning can take place virtually anywhere. It can be unintentional, unstructured, and often lead to unprecedented discoveries.

As design thinking[1] gains traction in education reform, there is a clear push towards informal learning, particularly in Science, Technology, Engineering, and Math (STEM) fields. Evidence of this can be seen in a booming Maker movement as technologies including 3-D printers and Arduino microcontrollers become more widely available to the public. Children’s apps, video games, and toys expose young people to basic science concepts early on. Informal STEM learning has punctured virtually every large industry except for one: fashion.

In 2011, the global apparel retail industry was valued at $1.175 trillion. It is expected to reach $1.348 trillion in 2016[2]. In the US, the neckwear market alone is worth over $850 million, with bow ties accounting for 7%[3]. Imagine what could happen in the global conversation on STEM education if a fraction of these textiles started telling a story of science; if kids and adults learned about the natural world through bow ties and other wearable accessories that had patterns inspired by images from the microscopic world?

Against this backdrop, the opportunity to share science in style through Cerebella was born.

In college, I studied Architecture and Neuroscience with a focus in healthcare to delve more deeply into how environments impact human development and the neural underpinnings of learning. As I took art and science classes side by side, however, my interests took a detour in a surprising way. My sophomore year, I took a cell biology and genetics course and learned about photomicroscopy, or photography through a microscope. Form follows function whether you’re talking about modern architecture or biology, and with this perspective I began to photograph structures of specimens in the lab to understand how they worked and what was responsible for their beautiful patterns, textures, and colors.   

Upon graduating, I founded Cerebella Design, a textile company at the intersection of art and science that finds inspiration under the microscope. My team and I create surface designs from microscopic images and apply them to apparel, starting with neckwear for men and women. All of our products are made of sustainable materials and are individually crafted in Vermont, USA.

The mission of Cerebella is to make science more accessible through art. Cerebella creates an educational experience with every high quality wearable product; these are complements to your wardrobe staples as well as conversation pieces. By designing patterns from microscopic images, the science lab quickly turns into an art studio, and the aesthetic experience that comes with specimen observation becomes accessible to scientists and non-scientists alike. This is a similar approach to Descience, where research is brought to the runway and shared outside of a typical lab setting.

On September 30th, we are celebrating the one year anniversary of Cerebella Design’s e-commerce launch, which has led to product line expansions, local science + art education outreach programming in Vermont, and a growing team of talented young men and women. This year we were also very lucky to cross paths with Descience and talk about what is on the horizon for education at the intersection of art and science. Descience brings designers and scientists together in a setting where they can learn from one another and, in turn, share their designs with the world. Cerebella takes the consumer goods approach on sharing science in style, with the goal of expanding product design and development to include scientists who are interested in having their images inspire the next surface designs. Whether science is on the runway or in the hands of everyday people, the opportunity to expose STEM through style is taking off, and this is only the beginning. 

[1]http://online.wsj.com/news/articles/SB10001424052702303506404577446832178537716

[2] http://www.textileworld.com/Issues/2012/July-August/Features/Apparel_Market-Landscape_Of_Change

[3] http://www.mrketplace.com/46788/the-new-neckwear-market/

 -------------

Ariele Faber is the Founder/Owner of Cerebella Design. She graduated from Middlebury College in ‘13 with a double major in Neuroscience & Architecture.

Interested in learning more about Cerebella Design? Get in touch!

 Website: http://www.cerebelladesign.com

Email: [email protected]

Facebook: http://www.facebook.com/CerebellaDesign

Twitter: http://www.twitter.com/cerebelladesign

LinkedIn: http://www.linkedin.com/company/cerebella-design-llc

Pinterest: http://www.pinterest.com/CerebellaDesign

Instagram: http://www.instagram.com/CerebellaDesign

[1]http://online.wsj.com/news/articles/SB10001424052702303506404577446832178537716

[2] http://www.textileworld.com/Issues/2012/July-August/Features/Apparel_Market-Landscape_Of_Change

[3] http://www.mrketplace.com/46788/the-new-neckwear-market/

[fashiondescience]

An “Epic” Collaboration Through the World of Analogies and Humor

Teach Epic #41

Ulf Gehrmann, PhD, scientist, Institute Curie, Paris, France Nancy Volpe Beringer, designer, Drexel University, Philadelphia; fashion designer graduate student

Welcome to Team Epic’s entrée into the language of analogies and the world of comedy.  Who knew that the collaboration between a scientist and designer could also lead to a journey filled with so many laughable moments?

First, full disclosure by the designer: I was the kind of student who always looked at the alternative science curriculum to avoid even the most basic courses of biology and chemistry. I thought I was home free until Ulf Gerhmann hit the lottery and got paired with non other than me. Fortunately, I did know that genes were not something you wear and DNA was not the latest designer label.

That said, imagine how our first Skype call went as I tried to understand his field of study into epigenetics and oral tolerance. The call required the best from both of us: Ulf utilized his patience and then some more patience as I asked and re-asked questions about his research. My business skills were also put to the test as I ferociously tried to take sensible notes.

All in all, I thought our first connection between Paris and Philadelphia went quite well. I was rather proud of myself for asking what I thought were sophisticated questions. As our call ended, Ulf said that he would send me a link that he thought would be helpful. Now imagine my surprise when I opened a link to find a child’s book on immunology … so much for thinking my questions were at a high level. And so began our supportive and humorous collaboration.

At first glance, his research seemed basic enough for me to understand. Babies develop their immune system based on their environment such as through a mother’s breast milk and also through things they might put in their mouths and/or ingest. Well, that explanation might have been good enough for the fashion designer to start her work; but then I was brought back to reality. As Ulf enthusiastically described his research, I was quickly reminded that this project is called the Descience Fashion project for a reason. Back to the science classroom I had so successfully avoided.

When Ulf got into epigenetics and its relationship to oral tolerance and started talking about open DNA, accessible genes, microscopic changes, my eyes got bleary and each word sounded like the next. I knew I was in trouble.

Lucky for me, Ulf’s compassionate manner and sense of humor immediately and continues to put me at ease during our conversations. Besides being a brilliant scientist, Ulf is also great at analogies.

While trying to understand oral tolerance, he helped me equate the difference between active and inactive cells by visualizing a light switch turning on and off.  The simple visualization also turned on the light for me. I believe it was at that moment that “descience” was brought to life as the scientist created a scenario for the designer to envision. I now felt I could start to translate his research into fashion.

Slowly, I began to grasp his explanation and relationship of oral tolerance and epigenetics. Just like a light switch can change between an off (inactive state) and on (active state), epigenetics regulates the activity of our genes by changing their accessibility for proteins from inactive to active. It is during oral tolerance that the child’s immune cells learn which substances are harmless environmental agents and should not elicit an immune response. Thus, the light switch can remain in its “off” position.  And then there are cells that recognize dangerous bacteria and will start an immune response.  This requires the light switch to be in its “on” position.

This understanding brought about our concept for a stitch and structure technique for our bolero. The bolero with its tight patterning of more than 80 repetitive conical shapes represents the inaccessible DNA and inactive cells. While it has taken well over 100 hours and 80 bobbins of thread to create the piece, it was worth every minute after hearing Ulf say, “Wow, I really see epigenetics when I look at your design.”

The loosely arranged felted roving and yarn trim on the boned corselet took on the role of active genes that have “open” DNA that is accessible (otherwise, the switch is in the “on” position.)

As the process and design continued, so did the helpful analogies. His comparison of the important role of the gut in oral tolerance and how it might resemble a bursting star throughout the body let us to design a supplemental child’s look to further explain his research. We decided on a whimsical, multi-colored child’s look, appliqued with immune cells and trimmed with DNA and actives genes exploding out of the gut, to portrays the underdeveloped immune system and important role of the gut in the process of oral tolerance.

Once again, “descience” was experienced. Just as I had begun to slightly feel comfortable in the world of science, Ulf’s took on an elevated role into the fashion design aspect of the project. He suggested designing the extremity and the torso in different colors, each representing a fundamental, yet raw and unstructured, component of the immune system. The process of oral tolerance orders the colors and gives structure to the immune components, arranging them in an intricate network that eventually covers the entire body.

And the good news is that I finally found a suitable way to showcase the gut. I felted the organs of the gut and appliqued it as the centerpiece of the child’s leotard. I even applied my newfound knowledge of oral tolerance. I went out into the environment and pulverized some sample objects such as grass, leaves, and dirt that a baby might have ingested and felted the pulverized pieces into the stomach.  What fun!

So as you can see, the laughter was not all one sided. I had my share of smiles when listening to Ulf navigate the world of fashion. Our most entertaining calls were always the ones when we would temporarily try to switch roles of designer and scientist. This usually resulted in a few laughs. But the good news is that our calls always end up helping us to get one step closer to creating our epic AND scientific runway look.

And for my final disclosures: Yes, I did read the children’s book that Ulf sent me; and even after rereading it, it still took me a while to adequately grasp his research into epigenetics and oral tolerance. And finally, any of the scientific information that I have tried to eloquently describe in this blog was taken from carefully written notes by Ulf for me.  Hopefully, I got it right.

In the end, all I can say is thanks to Ulf and thank heavens when I decided to go back to school that I picked fashion design!

[dreamingofthatcityscape]

For the past few months I’ve been collaborating with a scientist to create a garment based on her research for a fashion show at MIT called Descience. Our dress is inspired by fruit fly wing discs that have been stained with a blue staining agent to reveal gene expression.  Here’s a link to all of the amazing garments:  http://www.fashiondescience.com/#!desciencevote/cmk Please vote for Team Fruit Fly Fashion’s look for People’s Choice!

[startorialist]

Descience (fashiondescience on tumblr) is a non-profit dedicated to fostering collaborations between science and fashion to “provides science with a new language and gives fashion a new source of inspiration.” We like them already. 

Their current project is the Descience Fashion Show. Forty-five teams of designers and scientists have come together to create a look inspired by scientific research. From now until September 26th, you can vote for your favorite team/design, All teams will participate in a runway show at the end of September hosted by MIT Media Lab and the winner will be announced on the runway. 

It’s a pretty impressive display of talent and it’s inspiring to see what the cross-pollination of science and fashion can produce. 

Thanks to @20tauri for bringing them to our attention!

Now to see if we can get an invite to the show…

- Summer

[fashiondescience]

Continuity: Science, Life and Design

By Erica Templeman of Team Fermentase

Erica and Model Jemesii behind the scenes, Photo by Art and Discord Studios

My name is Erica Templeman. I am 27 and live in Boston, working production at a jewelry company and freelance as a seamstress & tailor. I also happen to have Crohn’s Disease and an ostomy, but what I don’t do is let my disease define me.

Crohn’s Disease is an inflammatory bowel disease that can affect any part of the digestion system. I was diagnosed at 10 years old, and have a severe, atypical case that has always kept my doctors on their toes. I had my large intestine removed at 12-- to work in its place, I had bowel reconstruction to join everything back up. Over the years I had plenty of chronic infections, abcesses, fistulae, and perrianal disease-- all linked by my Crohn’s Disease as it’s source. At 24, too much scar tissue and weak/diseased tissue gave out and I had to have the reconstructed bowel removed, and got my ostomy put in. “An ostomy refers to the surgically created opening in the body for the discharge of body wastes (Ostomy.org).” We’ve seen a lot of viral media about models showing off their ostomy bags for the world to see lately, but I feel this provides an inaccurate representation of what it’s like to have an ostomy. I’m glad people are putting it out there and that the only real difference in people with an ostomy is the appliance itself, but I don’t want to be defined by my disease, and I don’t let it rule my life (even if we do have a power struggle now and then).

The Descience project has been incredibly personal for me from the moment I was paired with my scientist, Torben Bruck. He’s incredibly smart and humble, and happens to work in an area of research that is on the very cutting edge of producing new lifesaving drugs-- fermentation science. Granted, it took us many emails back and forth to figure out how to communicate and understand each other. And then, during some of his descriptions on why one would grow and scale bacteria it hit me: this was the foundation of the very drugs that saved my life while battling Crohn’s. Torben’s area of research has already saved my life, and the same area of science and research is being sought for usage to treat the Ebola outbreak in Africa.

To understand how this field of biopharmaceutical science progresses from growing and modifying bacteria, I started with the very basics. I called up a friend of mine who teaches high school biology & biotechnology and we went over some of the most basic building blocks of Torben’s research: proteins. Proteins are one of the major building blocks of our genetic makeup. So in my own design research and quest to understand Torben and his work better, I broke it down into the smallest parts-- amino acids and how they form their structures into proteins and then the proteins building into antibodies. Antibodies are the body’s natural form of defense against disease. With certain diseases that are autoimmune or genetic, a patient’s body can’t supply the antibodies needed to fight off what other people can easily do. And that’s where biosimilar therapeutics come in. These drugs, utilizing proteins that contain the properties needed to heal the patients, are made in a genetically modified host bacterium.

Collage explaining the collaboration of Scientist Torben Bruck and Fashion Designer Erica Templeman

Crohn’s disease has always been part of my life, but never the sum of it. For this project, I worked closely with Torben to make sure that the science lined up with my inspiration. Knowing what I was working with, and my own experiences in taking these drugs, I knew that I’d be designing a battle gown. One that would be able to reflect the grace which many patients handle their disease, but it’s just not known since it is not a disease that makes you look sick. I drew inspiration heavily from Joan of Arc, reading the notes from her trial and viewing different visual depictions of her. I designed a textile pattern to look like chainmaille, comprised of the molecular formula for amino acid Phenylalanine (C6H5CH2CH(NH2)COOH) that is then folded like a primary protein structure, arranged in the shape of an antibody. The garment now reflects the armor that is being used.

Chainmail print with molecular formula for amino acid Phenylalanine (C6H5CH2CH(NH2)COOH)

I drew the threads of continuity together to build upon the details for a cohesive design. We selected protein based materials: silk and leather. The custom textile was printed on a polyester performance knit; polyester is created in a fermentation like process. For the skirt, I utilized tucks, in alternating directions to mimic a helix look, the common secondary structure of proteins. My obsession with continuity in my design didn’t end with the garment however-- I enlisted the assistance of my friend and model, Jemesii to wear the garment in not just the photographs, but also for the upcoming runway show. Jemesii also suffers from an invisible disease, and understands as someone who experiences such health issues what this garment has the potential to be. It is worn by a warrior, someone who puts up the fight every day against disease, against the world, but does it with grace and style, and does not let her illness become the sum of her person. Just like me. Just like everyone else with health issues, visible or not, keeps moving on through life not looking for pity, but instead just looking to live a rich and fulfilling life.

Photo by Art and Discord Studios, Model: Jemesii

Learn more about Team Fermentase's collaboration here!

Vote for your favorite science/designer collaboration here!

[fashiondescience]

What is hiding Out of Sight? By Rosario Fernandez Godino from Team Out of Sight

Since we became a team, our clear objective has been to merge our experiences so we can use design to express what blindness means. As a scientist, I always had the feeling that people see scientific advances as slow, that nothing really important seems to happen in a lifetime. However, science evolves as quickly as fashion; it goes so fast that we assume the progress as daily basis. When Rain started talking about fabrics, shapes, patterns and textures I felt immediately committed with the design, as if the figures were fighting to leave the lab and meet the world.

  Team portfolio: http://descience60.carbonmade.com/

[fashiondescience]

Team Obuba

Designer: Shih-Hui Chang Scientist: Pablo Rojas 

A biofilm is a community of microorganisms that attach to each other on a surface. It can be found on river rocks, extreme environments, water pipelines, dental plaque and prostheses. The ambiguity of a living formation that holds similar characteristics when found in nature and also inside the human body, brings excitement and curiosity to our project. 

Our garment is inspired by the stages of biofilm development. Biofilm formation starts with the attachment of free-living microorganisms to a surface followed by maturation and spreading. It can move from thinness to thickness, from softness to hardness, and at the end everything goes back to the beginning.

Sherry transforms those characteristics into the garment by simulating the elements and behavior of biofilm. The intriguing material to mimic film is foam, which is used in building sites for filling cracks on the wall and pipes. It sticks on the surface and expands, also hard to remove, like biofilm. Moreover, she uses the net for the understructure of the garment. This unique combination looks like different stages of biofilm.

Pablo studies biofilm and infection; Sherry manipulates fabrics and deduces the beauty of fashion. Biofilm isn´t fully understood, and a common definition of Biofilm is controversial as researchers do not agree on the semantics implied by its name. Similarly, since the aesthetics of beauty is indefinite, the unconventional fabrication we are using has its uncertainty. Therefore, now it is fashion for the relative research. Let’s see how this fancy works.

See more:

http://descience50.carbonmade.com/projects/5168908#1

[fashiondescience]

Finding the Beauty in Malaria, by Serena Cervantes from Team Invasion

Over 100 species of Plasmodium exist and infect various reptiles, birds, and mammals. As a graduate student I was thrilled to study one out of the four human malaria parasites, Plasmodium falciparum. I learned about its complex life cycle and how these single celled animals hijack both mosquitos and animals. When female mosquitos take a blood meal, parasites are introduced into the bloodstream and travel to the liver where they multiply. They then exit into the blood stream to target and invade red blood cells. Julie’s and my appreciation for science fiction made us see analogies between malaria parasites and aliens from outer space:

“We look up into outer space waiting for aliens to come down to invade Earth, but there are actually already here taking over our bodies”. 

This analogy came to inspire our team name, Invasion.

My research on malaria has influenced every aspect of our design:

It is designed for a pregnant woman who lives in a malaria endemic region. Pregnant women who become infected are at a high risk of developing complications of severe malaria that may lead to death.

The open back and empire waist top exposes the abdomen to show the importance of the liver stage. The garment is also light and airy, which is ideal for tropical weather where mosquitos thrive.

The top and skirt are reversible to represent being infected and uninfected. Malaria can be cured using common anti-malarial drug therapy, but not everyone can access or afford antimalarial drugs. In fact, people living in endemic areas will often have multiple bouts with malaria throughout their life span and may develop a partially protective immunity. The infected print was created by mirroring a fluorescent image of P. falciparum I took using a confocal microscope.

The coat is made to prevent mosquito bites and reduce malaria transmission. Female mosquitos transmit malaria parasites when taking a blood meal, and bed nets are used to reduce infection rates.

As we finalized our design we received an email from Mike Struharik inquiring about a breathable mosquito proof suit. While living in the West Indies, he found himself in paradise but constantly battling mosquitos. To avoid bites, Mike wore army boots and head-to-toe denim. Clothing treated with insecticides is available, but the material is thick and not breathable. Making clothing out of mosquito netting does not prevent bites if laid flat on the skin because the mosquito’s feeding appendage can poke through the material. Genevieve Tauxe, an entomology graduate student at the University of California, Riverside, informed us that 6 mm of space is used in her lab to prevent mosquito bites. We are now reaching out to 3D printing companies with the aim to fabricate a mesh with projections to create a safe distance between the netting fabric and the skin.

Mike inspired Julie to modify her futuristic coat design to make it functional. By adding a boning structure, she was able to raise the mosquito net off the skin to create distance between the netting and the skin. A hood will also be added to protect the face and gloves to cover the hands. Overall, our collaboration has resulted in a design that is both fashionable and functional.

  Read entire portfolio here: http://descience30.carbonmade.com/

[fashiondescience]

[fashiondescience]

How a Scientist and Fashion Designer Connected Over Quinoa

Article by:

Designer: Valentina Oppezzo

Scientist. Francisco Fuentes

  [The Descience project began with scientists who submitted images and briefs about their work. We placed this information in our Science Catalog and designers “shopped” for inspiration, indicating their top three scientists. Scientists then chose from the designers who had been inspired be their work and teams were formed.]

  How do you pick your partner fashion designer for Descience if you are a scientist whose clothes are all bought by your wife? Or how do you pick your partner scientist if you’re a designer who forgot everything about biology and physics after you graduated from High School – and never took a science class again after that? Francisco: While I was browsing through the list of the designers applying for Descience, I was a little overwhelmed: so many talented artists, how to choose one? But I connected right away with Valentina; her colorful and happy designs, that remind me of my country (Chile), and her gentle approach to fashion – being that Valentina is an eco-friendly and vegetarian artist. I thought that she would represent my research on Quinoa the best. Valentina: The day I picked Francisco as my first choice as teammate, I had a notepad with me, and I was ready to create a list of scientist names, sort them up according to my preference and compatibility, and then narrow them down to my three first choices. Instead, Francisco’s profile caught my attention right away, and his pictures of Quinoa fields and plantations sparked my imagination and creativity. I just kept my finger crossed, after that, that we would end up in the same team. I hoped, when I picked Francisco, to get connected with a person who will broaden my knowledge about Quinoa and research on nutrition and the properties of grains. My hopes were not disappointed, and I now also know how to cook Quinoa properly :)

  Together, Valentina and Francisco are Team "The Inca's Secret." To learn more about their collaboration, click to view their team portfolio:

http://descience55.carbonmade.com/about

http://www.fashiondescience.com/#!FIVE-RULES-FOR-A-CONSCIOUS-DESIGNER-By-Valentina-Oppezzo/c12kd/64343DC9-1F14-4D61-AD29-F29906027A87

[fashiondescience]

DESCIENCE GOES UNDER THE SEA by Scientist Sarah Lemer from Team Abyss Moana

Luxuriant underwater landscape of Bocas del Toro, Panama. Infinite species of marine invertebrates interact together and share space: starfishes, brittle stars, sea urchins anthozoans, sponges, tunicates and annelids.

THE HURDLE OF SCIENCE COMMUNICATION

 Many scientists know the struggle of having to explain their research to non-scientists, and let’s be honest - some of us are better at it than others. We all know how it feels when a friend, a relative or a complete unknown inquires about the nature of our professional activity. We also know that we are only given one shot to tell the story right, and it has to be captivating and meaningful, or we loose the listener’s attention in one second. After all, who wants to listen to the details of our last failed overnight experiment in the lab? Or the –only exciting to us- new methodology we are applying and how our last result (mysteriously) doesn’t seem to be reproducible? Not even our grandma!

In a sense, I am lucky to work in a field that most people can easily connect to, “Evolutionary Biology of Marine Invertebrates”, or just “Marine Biology” for friends and family. However, past the excitement of listening to adventurous fieldwork stories, encounters with wild marine creatures and dives in dream locations, comes the one question that people can’t help but ask: ‘so … what is your work good for?’ That’s when I regret I don’t work in cancer research where obviously nobody doubts about the usefulness of it!

WHY STUDY BONELESS ANIMALS?

It can be somewhat challenging to convince the novice of the importance of evolutionary biology because it has no direct application to our everyday life. My colleagues and I do not develop new technologies or improve human health. What we do is more basic, yet important: we try to understand the world around us, how it evolves in time and space, how we evolved with it and how all living things connect to each other from a biological and genetic point of view.

I focus on marine invertebrates (i.e. boneless animals) because they have been around for a very long time and thus are deeply connected and very well adapted to their environment. By studying these animals, we are provided with valuable insights on species evolution processes and… didn’t we all come from the oceans at first?

Marine invertebrates play essential roles in the various marine ecosystems available out there. They can actually be an ecosystem by themselves, like coral reefs, which create shelter, protection and nutrition for tons of other animals (including us humans!). They can also function as “ocean cleaners”, such as mussels, oysters and clams, which are constantly filtering the water. By using next generation sequencing tools, I seek into well-hidden genetic signatures of the past history of these species. Getting to know how they shaped the environment and how changes in the environment affected them, allows us to infer on how actual or future environmental changes will affect the fragile marine biodiversity. But most importantly, it will help us to better protect it! 

TRANSFORMING RESEARCH INTO DESIGN!

So let’s go back to the difficult task of explaining research to the public. In my collaboration with my designer, I experience something unique. Helmer listens carefully while I explain my research to him over and over again. I quickly realized he had a very special way to interpret was he was hearing: he visualizes my research in terms of shapes, colors and assemblages that he can relate to. I feel like he is translating my words and sentences into design, fabric and texture. Boneless animals became a fluid piece of fabric wrapped around a body, coral reefs were converted into colorful stacked pieces of embroideries and phylogenetic relationships became an accumulation of patterns and interconnected glass tubes – a whole new world!

And then I started dreaming… Next time someone asks me what my research is about and what it is good for, maybe a bright and colorful garment –a beautiful piece of art could help me explain it in a very intuitive way!

Team portfolio:

http://descience27.carbonmade.com/about

[fashiondescience]

COLLABORATION BETWEEN FASHION AND SCIENCE; AN INTERVIEW WITH ELAINE ROBINSON AND BENJAMIN CABALLERO OF TEAM SEAMSTEIN

INSPIRATION

ELAINE, how would you describe Benjamin's research? What drew you to it in the first place and what are some of the ideas or images that were worth exploring?

Benjamin is researching autophagy, the degradation of cellular components by enzymes of the same cell, and its role in aging and neurodegenerative diseases. This involves research on the degradation of pathogenic proteins in tissues and how these proteins, in turn, affect autophagy under different conditions and stimuli. This research is important to develop specific strategies for how the detrimental effect of pathogenic proteins can be diminished by improvement of the autophagy system. The black and white image representing bands of protein was what caught my eye initially. I was drawn to its simplicity visually and thought it would translate well to a textile.  (See screen shot of the image imported into the back yoke pattern piece of the garment.)

BENJAMIN, do you think Elaine has a good understanding of your research? What would you like to add? Is it challenging to talk about your work with someone who isn't a scientist?

I think that Elaine caught on immediately to the essence of my research. I was really surprised at her very well thought out questions that attacked the root of the problem and made me think of ways to explain complex things in simple terms. I think it is always challenging to talk about the work that you do, not only to non-scientist but to anyone who is not in your field. Many assumptions are made from the general knowledge that someone "should" have. In my case, I have always seen communicating science and research as the most crucial role as a scientist. What can we do if we lock ourselves in our own knowledge and understanding and are unable to reach out to everybody who is interested in listening to us. To explain what I do, I try to always use an analogy of a common thing that you would do in your day-to-day life, and then explain in the same terms how the cell is functioning. 

COMMUNICATION

BENJAMIN, tell us about the look that Team Seamstein is creating. What message does the piece convey?

As a team we are creating a trench dress. We tried to focus on an essential component used by almost every scientist, the lab coat, and give it a fashionable twist to change its conservative look. To make it unique we decided to add scientific images that reflect real experiments. I think the message we are trying to convey here is: Science is fun and it can also be fashionable. Most important we are communicating science with this garment and it creates a feeling of wonder and curiosity from those patterns. Also, at the end of the day, the way we dress reflects who we are, and anybody can start being a scientist by dressing like one. 

ELAINE, anything you would like to add?

Benjamin works with proteins.  Protein is an identifier. We have taken the most used and universally identified lab equipment for a scientist; the lab coat, and modified it to add interest by incorporating fashion details and the pure scientific image.  By highlighting the image on the dress we hope to provoke conversation about it and what it represents while conveying a sophisticated fashion style through the design.

CREATION

BEJAMIN, please tell us what tools your team is using to communicate your research. Have you learned anything new about fashion design?

I think this is my turn to acknowledge Elaine and the tremendous and innovative work she has done to communicate my research in our trench dress. From our initial talks with some "mood boards" which was where our project started to take shape, we were able to convey the feeling we wanted to give. She also did a great amount of work from a graphic perspective, looking at ways to change our image in order to reflect what we wanted to convey. From a material perspective, different materials where selected to best fit the trench dress, reflect its movement and show our scientific image by producing a fashionable pattern in the garment. I have definitely learned quite a bit about fashion design with this project and also learned the similarities we have with experimental design. From the initial brainstorm and research to generate ideas, to the sketching process, selection and construction, to the final edits and creation we hope to showcase science through fashion. Every single step could be easily translated to what a scientific project and experiments are about.  

COLLABORATION

How can you support each other moving forward? 

ELAINE

The best way for me to support Benjamin moving forward is to make sure that he is in the communication loop and to seek his input to the design process. This will ensure that he is well informed about the direction of the design and included in a cohesive team effort. Benjamin’s input is invaluable and aids in the process when I am making design decisions. It is also important for me to stay inquisitive about his research and continue to learn from it.

BENJAMIN

The best way to support Elaine moving forward is to be absolutely honest about my impressions in the different steps taken during the design process. It is not easy to give technical feedback or justify why you like one design more than another, when you do not have the specific knowledge required for it. As long as you do it from an honest perspective and try to contribute for the better of the project, things move forward. Elaine's design abilities to change and transform things from what we discussed was absolutely fantastical, and I think we were able to merge our ideas in every step of the way. 

[fashiondescience]

An Update from the Hijackers, By Scientist Cindy Lai

I'm really excited to be able to talk more about my continuing collaboration with Kyley. When I first entered this contest in December, I literally thought I would be just throwing wildflower seeds into the wind and coming back nine months later to see what grew. I am so happy that throughout this process, Descience has encouraged us to collaborate so much, and I am so happy that I to be paired with Kyley. Even though I know very little about fashion or the process of making a runway outfit, I feel like she's really valued my input and thoughts throughout this whole process. 

  I just started medical school again and unfortunately my schedule has kept me from connecting with Kyley for a while but last week we are able to get together finally, and I filmed her stretching some wool to make some hats. We're both really excited about thinking about accessories for her pieces; we've actually discovered that we're very much on the same wavelength in some of our ideas. I also met some of her family, who were great and so enthusiastic and supportive of our project and collaboration. And I'm continuing to collect these blue and yellow plates that come from pipette tip boxes for Kyley to use on one of her creations. We couldn't really decide on one single piece or one single outfit, so Kyley is beginning to make a mini collection of some of our favorite ideas. We think that Descience will be a great platform for this!

  It's very exciting to see her ideas take form and I can't express how impressed I was in seeing all of these pieces in progress that Kyley has been making all by hand. The vinyl panels for the raincoat looked even cooler in person than I imagined. And she's been able to piece together the pipette tip plates into these really cool 3-D forms. We have been discussing some exciting ways that we can continue to collaborate, so stay tuned for more and possibly a video blog from us!

  Sincerely, 

the Hijackers

http://descience35.carbonmade.com/projects/5166750#1 

http://fashiondescience.tumblr.com/post/80392202566/the-hijackers-by-kyley-n-smithers

http://www.fashiondescience.com/#!AN-UPDATE-FROM-THE-HIJACKERS-By-Cindy-Lai-Scientist/c12kd/2A8F0EA0-68A2-49F0-8585-7B512284B508

[fashiondescience]

Drawing Beauty out of Poison, By Andrew Hong

Diversity of Participants

Descience draws from a wide spectrum of scientists and designers with a range of experience - from budding to established designers with their own labels, and from science students to scientists with major publications to their names. Also represented are those who utilize tools created by scientific research, applied to other disciplines such as medicine and environmental health. However, creativity and inspiration can be found throughout this competition regardless of age and previous work.

  Self-Styled “Underdogs”

One of the younger pairs to take part in Descience, Cheval Noir (“black horse” in French) is comprised of Lasell College student Amy Leu and environmental scientist Jaime de Sousa. The self-declared “underdogs” of the competition, Amy is an undergraduate student and Jaime has moved away from actively pursuing research, instead using scientific tools to measure toxic substances in peoples’ living and work environments. While not the most experienced participants in the competition, their creativity and strength of collaboration easily stands up to that of the other pairs.

  Inspiration

Cheval Noir’s submission draws inspiration from Jaime’s work with the Environmental Protection Agency (EPA), in which he seeks out and tests for poisonous lead paint – a type of pigment commonly used in buildings prior to a ban in 1978. With its elaborate crackle patterns and delicate flaking, lead paint has a certain beauty that belies its dangerous nature. Exposure to high levels of lead can cause developmental disorders in children, as well as nervous system and organ damage in both children and adults. Very high levels can cause seizures, unconsciousness, and even death.

  Collaboration

Amy was initially drawn to photos that Jaime posted of lead paint - cracking, peeling, and showing signs of age and decay yet revealing captivating patterns in the process. The two immediately met and Jaime threw all sorts of ideas at Amy, who then quickly sketched some initial ideas that morphed as the conversation between the two deepened. In its current state, Cheval Noir’s look is punctuated by white flakes that cascade from the head down to the shoulders, and a web of rhinestones reminiscent of cracking paint that is slightly hidden away on either side of the body - similar to the hidden risks of lead paint itself. The jumpsuit draws from protective suits worn in the field, while the color of the garment takes its cue from the colored strips used to test for lead.

  For all of the clear design inspirations taken from Jaime’s fieldwork, Cheval Noir has been careful not to be too literal with how they communicate this area of environmental science through fashion. They have deliberately maintained a degree of abstraction between science and fashion, drawing viewers deeper into the work and encouraging them to mentally unpack the garment and explore how science might have inspired the visual elements of the design.

  Through this collaboration, both Amy and Jaime were able to engage in a process of creative exploration into fields that neither had previously had access to. For their viewers, Cheval Noir hopes that they will inspire people to be more adventurous with their clothing choices (bringing back jumpsuits, for instance) and have the courage to play with and create from unexpected sources.

[fashiondescience]

#Portfolios are live on the web! Learn about our teams' creative process! #fashionandscience http://www.fashiondescience.com/#!contests-4-steps/c15uq

[fashiondescience]

SEARCHING FOR MY DESCIENCE LOOK By Philip Witts

I haven’t even been part of the fashion world for a year, but if there is one thing I have noticed, it is that with every new season comes new trends and innovative looks. Behind every design, there is some type of theme the designer incorporates. I have noticed that a lot of designs have been based off of something in nature, but why not science?

  Yuly Fuentes-Medel contacted me about Descience asking me if I wanted to become involved. Of course as a model and Journalism major, I couldn’t turn it down. I have worked with the likes of Karl Lagerfeld, the head designers for Chanel, Fendi, and Karl Lagerfeld and Cara Delevingne, one of the top supermodels in the world. They, like everybody else in fashion, know that creativity and innovation are key to any fashion brand or design, and I am sure they would love what Descience is doing.

  Last Friday on the 25th of February, Yuly and everybody involved in Descience held an event at the MIT Museum to showcase what the designers and the scientists had come up with. From team names, to team designs, to the explanations behind the designs, everything was fascinating. There were complimentary food and beverages and even microscopes that fans and participants could look through. The atmosphere was electric with curiosity and intrigue. If the final products look anything like the sketches, then Descience is going to take off.

  I’m really excited for Descience to come out with some men’s designs that I can wear! 

  - Photo credits to M magazine