Category Archives: Projects


2015-current 3D Design and Craft, University of Brighton, BA(Hors) Brighton, UK
2006-2012 Arts and Crafts, Sookmyung Women’s University, BFA, Seoul, Korea

2011 KDB Mirae Asset Galley, Seoul, Korea
2010 Daegu Art fair, Daegu, Korea GEISAI Art fair, Tokyo, Japan
2009 Degree Show, Sookmyung Women’s University, Seoul, Korea
2009 New York Art Expo, New York city, NY, USA



Self over time. Collection of possessions acting as a diary and a testament to the every day. Receipts show small transactions but also provide insight into daily life. Similar to an archaeologist. Felt different connection to the different items. There was a sense of a panorama – memories of wearing and using the items – reflected my bad days and good days. The process was adapted from cremation, cleaning and shrouding a dead body, as folding well the trousers before burning.

How do we come to understand The Self? Or Our-self? Both incorporating change but also a sense of ‘Who We Are’. The materials left – the different structures, textures and even colour. The ash has infinite potentiality as form of powder. It takes an important role both in my practice and my life. Firstly, the process is to make ash; this burning is like a gift, to cure wounds. My absorption in the process recovers time. Secondly, its end result.

One of life’s few certainties is that we will die. Like we are born – alone and “empty”. Our life’s possessions become meaningless. Ash Wednesday is, the first day of the Lent with fasting, to commemorate the death of Jesus and the day is my father’s death.

From Ash To Ash. This idea was echoed throughout – fire symbolising both life and death. At times of great significance ritual helps us to understand and to process. We create and reproduce meaning through ceremony. The ceremony and process helped connect points in my life. My father’s death and how I came to use ash as my signature material during whilst I processed my father’s death.

other (describe) All of them. Technically lots of improvement needed.

I have no idea for being rejected; guessing they simply might not have liked my project, or too difficult to understand for them. Personally, some reasons for failing were in respects of technics as one of the aims of the project was creating my own material.I learnt and found from trials and failures that obviously has potential, and I should have been more bold and flexible with such as scale, method and consistency.

I prepared and carried out the project for more than three years, so it got me emptiness, frustration and feeling let myself down because it means a lot to me and I cannot just let go. As my background is craft, specialised in metal, I am trying to get my material back on track and looking for any chances to make them collaborated. Failure does not mean that finishes – mean there are other potentials that I could not have seen yet.

Although it left me unpleasure feeling, I had to make my step forward. Returning to conventional material such as metals and polymers mixed with fabrics allowed me to have pause and look my ex-project with fresh eyes. Like mentioned earlier, as I am trying to get my material on track, my eyes have been on methods and techniques of other materials to adapt. I was mentally little down for a bit, but it did not have a massive impact on my other progress.



I am not particularly interested in one material but also everything; I mean, everything. Part of my ex-project was making ‘fabric-ish material.’ My interest is a contrast of technology and analogue, and tradition and contemporary – but some points of e-textiles project among them impress me, a juxtaposition of innovation and obsolescence, and challenges and concerns, which allow me to think out of a box, in the sense of an internal variation.

Essentially and straightforwardly it gives fun and joy to the world, like Christmas. Because it could be regarded as wearable AI, light version of robot or a connection between robot and human beings. This is not about welcoming the ‘new’ world – so that it should not be biased onto one side. Also perspectives will be various, all it depends on what material would be collaborated in the project along with technologies.

First of all, I consider to ask what are your spectrum of technology.I used technology part in my works a lot, but had my interest going down as boom of technology, ironically. They are still part of my projects but not mainstream. The more societies develop technologically and comfortably, the more ethics and moralities are stressed. In these respects, it should be careful to present outcomes and to adapt in our daily lives as not only sustainable but also environmental aspects.


I’m an artist, scholar and curator interested in the relationship between art and technoscience, with a special focus on smart textiles and wearable technologies.

I’m a member of the 2580 Association (Cluj, Romania) and of Paidia Institute (Cologne, Germany). Following Visual Arts and Cultural Anthropology studies in Cluj (Romania), I completed my PhD thesis at Paris 1 University (France).



It was a panel group proposition for ISEA 2016 in Hong Kong.

The panel answered the call for papers and panels launched by ISEA 2016. Our application was meant to answer the theme of Noise Contra Signal.

To bring together different approaches related design of sound and noise devices, from radio broadcasting to e-textiles.

Taking as starting point Victor Papanek’s story of the non-expensive, locally adapted produced radio receiver we assembled a series of project presentations which deal with different aspects of radio broadcasting: From the way a radio receiver and a radio transmitter are produced to radio infrastructure, and from the delivered information to the means of questioning its accuracy and validity.

other (describe) economic censorship

We couldn’t find the money to travel to Hong Kong. There was almost no time  very little time and there We were obliged to cancel in the end the panel.

We are tried to apply with the same panel for another exhibition in Germany, but they were not so much interest in a panel, as they were interested in the works.

Since it is one of the major events in electronic arts, and since the academic evaluation it is sometimes made based on the number of accepted and published papers, we can said that we were financially censored to participate.


For me it is the combination of materials, the new kind of performativity they allow. It is also the multilayered relationship to materiality.

Most of the discursive aspects are related to the types of application they allow (army, health, aesthetics, etc.) or the new applied way of teaching science.

I think that there it will be more and more interest in the material science research, but also there will be need it a much more systemic approach to design, one that takes into consideration the conception, the production, the use and the residues of the e-textiles. The legal and social aspects are therefore not to be left aside.


I’m an artist, scholar and curator interested in the relationship between art and technoscience, with a special focus on smart textiles and wearable technologies.

I’m a member of the 2580 Association (Cluj, Romania) and of Paidia Institute (Cologne, Germany). Following Visual Arts and Cultural Anthropology studies in Cluj (Romania), I completed my PhD thesis at Paris 1 University (France).



It was my diploma work in Textiles Arts and Design at the University of Arts and Design Cluj, Romania. I was interested in performance and the performative character of textiles. Therefore for my diploma I wanted to make a flying-carpet, or at least something to give the illusion of a flying carpet. But back in 1998 Romania there were no micro-electronics shops. I ended up building a 12m° installation with 5 turning elements build with old Dacia cars’ wind-screen motors.

It was my diploma work in Textiles Arts and Design at the University of Arts and Design Cluj, Romania. Later on, it was exhibited during the Bucharest Tapestry Triennial in 1999. Following this exhibition, I was invited to exhibited in an art centre near Bucharest in what would have been my first personal exhibition.

During my studies I was interested in textile sculpture and installations. The idea of a “flying carpet” came step by step. Carpet – Garden is a modular work integrating mobile elements which were programmed to turn in the rhythm of music

Since the object of tapestry is generally a carpet and since the classical Middle East carpets generally deals with variations of idealized gardens representing the Paradise, the idea of working on the subject for my diploma was a very appealing one. But more then that I was tempted by the idea of a moving carpet, a flying one.

other (describe)

The project failed twice, if I am allowed to say so.
There was first a technical failure. My first plans about how to build this carpet were put down by the engineer I was asking the help.
Secondly, the work I left in the custody of the art centre was destroyed. Following the elections, the director of the centre changed. The new director didn’t wanted to exhibit my work anymore and she didn’t wanted to pay the send back of the work. When I came back to take my work, it was half destroyed.

There is a film of the installation which is now on-line. Otherwise, I cut detached the weaved parts and recreated a new installation.

The work was destroyed in the end. But I learned a lot about bricolage and electronics in the process. I also learned I have to make more easy to transport and to install works. It was my first e-textiles work with to so small electronic components.



The new kind of performativity they allow. It is also the multilayered relationship to materiality, craft, labor, aesthetics.

Most of the discursive aspects are related to the types of application they allow (army, health, aesthetics, etc.) or their capacity to allow  new applied way of teaching science.

I there it will be more and more interest in the material science research, but also there will be need it a much more systemic approach to design, one that takes into consideration the conception, the production, the use and the residues of the e-textiles, the labor…. Legal and social aspects are therefore not to be left aside.


Veerle Pennock is a designer, constructor and researcher currently based in The Hague, studying MA Art & Science. Her interests lay in art, design, technology and the ongoing interaction between digital and analogue methodologies. Annette Schmid holds a BA in Communication Design and is based in Hamburg. She is a creative researcher of human-machine collaborations, investigating multispheric form languages, interactions, presentation possibilities and unusual media platforms.



Veerle and Annette met 2017 in Tokyo during a mobile summer school program developed by Graphic Design Arnhem, ArtEZ University of Art Arnhem. The goal is to introduce participants to the concepts behind contemporary (graphic) design research, speculative design and design critique, as well as extend one’s own design practice. We were able to implement our own research question connecting to the life in megastructures like Tokyo. We choose to find prototypes for a new form of life: The Cityborg:

A Cityborg is a potential, unconventional form of life, that could evolve under the circumstances of the futuristic megastructure Tokyo. Cityborgs could use technology to plug in and mediate between potential entry ports of technological, social and natural systems of Tokyo. By either extending its body or using enhanced everyday objects, the new life form cityborg hacks existing boundaries between the former inhabitant and the city. Smell-O-Mask is a prototype that could be used by a cityborg.

Our research showed, that Tokyo consists out of hybrid natural-technological systems, not only technological systems like the surveillance system or the digital billboard-ad-systems. Natural systems like silence, green spaces and also social layers of a city are a greater part of the construction, a city could even be seen as a machine to live in. Our interest with this project lies in the use of technology as ambassador to mediate between the natural and the technological.

SMELL-O-MASK is a speculative prototype of a wearable smell-printer-mask, that let’s you connect to another place, via your nose. As surgical masks are quite common in Asia to protect from air pollution, this project aims to enhance this everyday object to become a device for creating olfactory alternative realities. For example you could be connected to your favourite forest, while walking through the streets in a grey megastructure.

technical failure

a) less time b) a smellprinter can’t be that small to be waerable at this time, it needs to be invented. c) a specific unique scent consists of 1000 components, a highly sensitive scent sensor has to be developed to detect and convert it into data that can be sent over the interne to a different smell-printer device. In addition, we discovered that the mask is hiding an important part of the face for communication, this would be a important design question to be solved.

We just found out about this competition and it inspired us highly to rethink about our project and create a detailed speculation about how this mask could work in reality. Maybe by the help of further artistic imagination, someone is able to invent the necessary technology.

We basically cut the project, because we weren’t in the position to make it work. Through your competition and thoughts, we changed our perspective and the aspect of analyzing the failure brought us into position for continuing with this work, even if it will never work.



We attempt to describe e-textiles as the second skin of the human body. While our physical surrounding world (architecture, art, science, energy…) is getting increasingly extended through smart technology, the natural functions of our skin seems not adapted anymore to our recently created habitats.

From this viewpoint, it seems almost natural to see e-textiles as a layer through which our bodies getting the chance to adapt and evolve with our new environment.

Textiles can be more than fashion. By naming it the second skin, we can come back to the original invention of wearables/clothes. There should be a hole bunch of useful inventions of how we can implement the useful aspects of clothes again in the future.


I am a Fashion designer from Manizales, Colombia based in Bogota, Colombia with experience in dressmaking, sewing, pattern-making and wearable technology, holding a MA degree in interactive design. I have created haute-couture clothing and I have researched about adapting new techniques to the fashion manufacturing chain. In the Academy I have worked as researcher offering workshops and carrying out different practice-based research projects, some of them in the field of wearable technology.

Americanino Denim “leds aleatorios” (2017)
Creation of raincoats DIY with recycled plastic bags (2017)
Creation of disposable devices for the detection of air quality (2017)
AirQ Jacket (2016)



This project was created within an academic context. For its development we have researched topics such as: wearable technology, informed territories, Internet of Things and local ecology. This was a dissertation made for the University of Caldas specifically for the Interactive Design Department. Consequently, the purpose of this research is to promote the clothing manufacturing chain to new manufacturing techniques, lifestyles and to encourage user interaction with its local ecosystem.

This project is a result of a  rigorous research made with a theoretical framework focused on WT. On the other hand, during the research process in interactive design and local ecology we have found that Manizales, Colombia is situated in a volcanic area, and also that the automotive market has increase during the past years. Due to these facts, we have created a project that could help local citizens to be aware of scientific Air Quality data through WT experience.

Even though I am a fashion designer, my mainly motivation is to create projects that combine different discipline experiences and where I am able to investigate mathematical, physical, natural or medical problems in order to create innovative solutions for society. Thats what I have found that projects such as the AirQ Jacket are fascinating, because it allows me to expand my crafts and design approaches at different levels.

The AirQ Jacket makes audible and visible scientific Air Quality data. This jacket is made of recycled plastic bags and led color lights, that according to the AirQ alert they can illuminate in (blue-red) or (green-yellow-red). Also it has a sound device that emits AirQ pulse alerts according to the temperature and CO2 data sent by sensors. It is a design that makes allusion to the clothing of industrial and vulcanological protection.

other (describe) Aesthetics: the material of the jacket are somewhat crude. Besides, the electronic circuit has many wires to make the garment wearable.

The crude material and many cables inside the AirQ jacket let me taste the roots of fashion and technology. Also I could learned to outline e-textiles experimental routines, as well as record photos of the process, keep the routines in written, in video or gif format. Today I rely on my trials and errors and can apply them to each project-based-design on making of clothing, this allows me to focus my practice and research just on e-textile topic.

Currently, this project is still in progress. I’m working to find solutions to improve an everyday wearable device for citizens to be aware of the environment. I am working to find solutions to improve the circuit aesthetic, in order to make the e-textile surface more functional and wearable, also how the e-textile surface could translate data that allows AirQ alert communication with the user.

Thanks to the aesthetic and circuit design failures, I have been able to outline e-textiles experimental routines in order to give solutions to questions such as: How the surface is connected to other types of electric actuators?, How to continue embedding the circuits through the different layers of the textile?, How to conduct electricity without so much weight on the fabric of clothing?, and How to be able to take out the circuits in order to make the textile washable?



What make e textile subject matters I found this topic fascinating and appropriate since I am able to access from anyplace to the DIY tutorials and information through the internet. Also, I am able to create magical products that emerge during the practice process because It is a subject that is being updated all the time according to what is being shared, and could be constructed and modified while you upload and share information through different media channels.

The e-textiles have become really interesting to fashion and interactive design, because they go beyond the normal fabric uses transforming the traditional characteristics of cloths like assign specific technological characteristics, such as augmented reality (AR) or virtual reality (VR) options. For example, when trying to activate by sound or put the device below the material you will be able to project any information through the fabric or through de device.

I really believe that this subject goes hand in hand with computer’s evolution and with some other related disciplines such as: medicine, natural sciences, contemporary dance, data perceptualization, soft computing and fashion communication. And so, according to my perception, the e-textile future should adopt the story telling through the developments of softwares and hardwares in order to adjust the e-textile design to a day-to-day life experience.


Renata Gaui is a brazilian creative technologist who has worked as a designer in Rio de Janeiro and New York within creative agencies, collaborating in the design of brand content, strategy, communication design and event production. Currently she is working in different fronts of wearables R&D and her artistic work has been addressing female identity & empowerment.



During my masters program at ITP/NYU I randomly took a class about wearable technology (which I ended up falling in love with and pursuing a career within it).

The project was done on this class in which we were pushed to follow a very design oriented methodology, thinking about specific target audience & ways of making it feasible.

For this class, I decided I wanted to create a wearable for females who commute biking, making it a piece of empowerment, making users to feel safe and present.

The goal was to create a pair of patches that you could “stick” anywhere and through machine learning they would understand how you behave before turning lef/right and make there patches to light up a fiber optic “tail”.

technical failure

Firstly because I used an attiny85 board. Went really basic and just used a literal toggle switch to make the “tail” to sweep. I was able to make it portable, but none of the ideal machine learning system was integrated at all. Secondly, I wanted the light part not to be an LED (at least directly). So many projects for bikers are just about using LED and I wanted to test if I could to a fiber optic version of it. It worked at some point but it in the final version it didn’t work well.

The project did get a second attempot in which I tried to optimize the circuit, but I didn’t actually changed anything on the interaction/materials. It did taught me a lot about mechanisms & fiber optics.

I was very wrong about what I could achieve in a four months class. My initial scope required a lot of testing or circuit, material, interaction and learning skills I didn’t have to implement the whole systems. Until the last three weeks I was positive I could built it all (I tend to be optimistic regarding time), but then I had to downgrade the idea to a proof of concept. By the end of the process i just wanted to get something together worked kind of they way I wanted.



Because textiles are materials that are part of our routine – and having eletronics embbeded in objects that we are already emotional relationship with.

E-textiles feel like the right medium to integrate technology in our daily lives, rather imposing a piece of device that you always need to remember to use.

To integrate it smoothly into people’s usage, I believe e-textiles products and services should give extremely importance to user testing, sustainability & technology blindness: not letting technology overcome the purpose; let possible users & scenarios to be part of the process; and think what is the impact of having electronics within the washing cycle, so close to our body and what are the most sustainable combination of components and materials for the purpose of this textile.


Lara Knutson is an Artist, Industrial Designer and Architect who works in New York City.
Lara’s work is sold in design stores and museum shops around the world, including MoMA and the Cooper Hewitt. Her soft glass series is in the permanent collections of the Corning Museum of Glass and the Renwick Gallery of the Smithsonian American Art Museum.



Jersey Devil Weaving. This project was a call for submission to an art show about American Monsters curated by my friend, Richard Saja, and shown at the One Mile Gallery in Kingston, New York, September 2016.

The framework of the project was to re-create one monster inspired by a famous American monster. I chose the Jersey Devil.

As a little girl, growing up in New Jersey, I was afraid of the Jersey Devil, so I based this project on that monster.

This was a weaving of retro-reflective materials that make light look 3 dimensional and metallic leather that reflects light to make images onto the retro-reflective surface. I chose the same weaving pattern on the woven Marcel Breuer Chair which were the kitchen chairs I had as a child.

other (describe) Was in a show, but missed the mark for what the curator was looking for.

I would have asked the curator more about what he was looking for and tried to make the imagery created by the light more realistic.

This is the best part. I learned that the visual effect created by bouncing light off of and by using LED lights. This fabric reads really well visually as a woven surface and now I’m using this technique to make LED light installations.

This project made me want to weave more with light using LED’s in relation to this fabric and to push the boundaries with the lighting effects that can be achieved with this fabric by simply weaving.



I like that surfaces are capeable of being functional because it can make they seem magical and otherworldly. I also like that there is an economy of space and form inherinent in a surface being able to do multiple things.

I believe that Form Follows Phenomonon. If a surface has an inheranet function other than being a color or type of finish, this allows that phenomenon to enhance forms in new ways.

I would like to see more threads available for 3D knitting.


I am active in free software communities academic and art practices, I have been an active member of a several groups producing critical software, alternative social media and art installations in Europe, such as experientiae electricae, Constant vzw, or Following a PHD in Paris1 I recently co-founded the research organization petites singularites in Brussels, where we concentrate on researching the specificities of free software and particularly its benefits to collective practices.



A long time ago already, while living in Canada I participated to my first exhibition in Europe. This allowed me to ship back home (in France) some large work I had done there (in Quebec). During the exhibition I remember this comment of a long time friend of mine: “Natacha you are the only artist I know who present failed work in international exhibitions”. I was a bit shocked, but indeed he was right and somehow this fate pursued me all my life.

I have always worked in an independent fashion, most of the time collectively and as many artists, I have been confronted to a broad range of institutions from academia, to corporations, governmental institutions and museums, all of them being often intricate. I have tried to work in a transversal relation to those environments; the work I will present here has been shown in many places publicized and served as a basis for research that led me to hold responsibilities.

My attempts to experiment on wearables were always seizing the limits of the technological possibilities, hence always flirting with what some people call failure, but for me they are part of an achievement. In this work I wanted to explore several very difficult technologies and concepts in live situations, such as: non location based, non hierarchical digital positioning; using wearables to produce meaningful collective biofeedback, distributed network based group interaction in the city etc.

Interac wearing is a work I have pursued over several years that materialized in several instances of wearable propositions of a low bandwidth mesh network, between 2008 and 2012. It consist in a set of costumes that responds to their users walking step by triggering a sound that can be heard by other participants, other costumes, disturbing their own pace and sensation. The visuals associated to the piece remotely map participants triangulating their position one relative to the other.

technical failure

Because of the trend over wearables it was very difficult to get through the mainstream discourse and give an understanding of the specific concepts that motivated the work, such as embodied interaction and participation. Furthermore, while formally a success the work, was never fully functional because my refusal to use location based technologies complicated so much the process that I would have needed more scientific means to develop further the specific beacon technologies I needed.

The project is still existent as I am still searching for ways to misuse technology and setup means for collective embodied interaction via distributed communication networks, and this continues to be an Utopian goal. I now can identify many reasons why the work confrontation to the wearable scene was problematic, most of them are tightly linked to the experimental and critical nature of the work that is in contradiction with the trends of technological developments and many economic interests.

Along the evolution of this project I have seen the development of wearable and mobile technologies to the large public through proprietary technologies. I understood that this issue was the main point to address. I now use mobile technologies as a critic and continue to face the same issues: what I want to use technologies for is contradictory to mainstream approach and therefore demands specific developments, for this I participate to alternative networks, as women and free software groups.



After this work I was often called to participate to artistic “e-textile” projects, however I have never been interested in textile as such, to me it was only a way to interface as close as possible to the body, searching how technologies affect our bodies. Interfacing electronics to textile allows me to explore how our body could affect digital interaction, decolonizing our bodies by focusing on gestures that affect our sensations, our relation to the world.

E.textiles might refer to an independent scene that can differentiate itself from the mainstream industrial developments in wearables technologies, it is important that the scene keeps a critical discourse by representing an experimental and prototype based approach, as the technologies involved become highly complex, their possible large scale production raises many issues, it is therefore essential to provide access to those technologies to critical thinking actors and artists.

In the context of contemporary surveillance technologies, it is important to envision non identity based forms of interaction, ephemeral interactions that only happen in the moment, non verbal and meaningless communications that only affect the participants in a specific context and that would not be archived. Furthermore as e-textile develop in industrial contexts, scalability is an important issue that should be tackled in regards to ecological sustainability and fair work practices.


I’m an information scientist with a background in human-centered multimedia and currently working as an e-commerce stylist. For my bachelor thesis I did a conceptual design for a wearable system for musicians on the road and for my master I did research on textile parameters. In my free time I like to gain more practical experience through workshops as this was missing during my studies and follow lectures to remain knoknowledgeable on the relevant topics.

Short version: bachelor thesis video shown at the CHI Conference 2012

Long version: Bachelor thesis presentation at British HCI Conference 2011 Workshop – When words fail what can Music Interaction tell us about HCI?

Bachelor thesis download link:



The project was carried out as part of my graduation thesis at the University of Amsterdam. I studied information science of which wearables is one example of an information system. Since this research was carried out from an academic point of view the focus was more on functionality than design. The reason for examining the potential of wearables was to look for alternative approaches of interactive information systems. To step away from the desktop, laptop and mobile applications.

At the beginning of the project this was not the intent. Halfway through the project my supervisor saw the potential for submitting it to an HCI workshop and later on also to enter the HCI video competition. Unfortunately I could not attend neither two events, but was represented by my supervisor at the HCI workshop.

I was inspired by my immediate surroundings. As most of my friends are musicians and living in the Netherlands and always travelling with the train and their music gear, I wondered how they would capture the very beginning of a song, the inspirational stage. A musical idea can strike at any time, but it might not be very convenient to take out all the gear and make a recording. Therefore I decided to look at the potential of wearables since a garment is something we always have on us.

I proposed a wearable support system for musicians on the move, called Boogynoma, to solve this problem. First I looked at the current situations of musicians on the move to come up with a design solution. Subsequently a pre-study analysis was carried out to define the requirements for the functionalities of the wearable support system. As such a design for the system was carried out. This consisted of a mock up prototype of the wearable music shirt and an interactive belt.

other (describe) it was an attempt to showcase the potential of a wearable system

The project failed in the sense that it is merely a conceptual depiction of how the system should work in reality. It was an attempt to illustrate the potential of this wearable system if it would be fully functional. Reasons for failure were time constraints and no budget available at that time for such projects.

After my graduation the project came to a definite end. For my master’s project I could have continued with this project and make an actual working system, but again I bumped into budget restraints and decided to do some research in fashion technology and textile parameters.

It gave me a lot to think about, especially all the aspects you have to take into account when designing on the body and the interactions that go with it. It also gave me a push to keep doing research in my free time and stay informed on the newest developments in the wearables field. I feel I still miss relevant design and programming skills when it comes to join projects, since I’m not exactly a fashion designer or a programmer. In order to succeed one must also have hands-on experience.



I like the fact that it can serve as a wearable information system, which is pushing human interaction out of the box. It also provides instant access and results as it is worn close to the body. It also supports the idea of pervasive computing that technology is always with you or around you.

It is interesting as there are versatile fields of application, for example fashion, sports, entertainment and healthcare. This means that we all have to work together to achieve tangible results and allows for interdisciplinarity.

As technology is fast-paced and computer parts are getting smaller research should be carried out on new materials, reactive materials and the integration of sensors into clothing. Therefore not only stitch on a sensor or a LED on a fabric, but actually make the garment reactive by incorporating technology in the fibers.


Aline Martinez obtained her BA in Fashion Design from the State University of Londrina (UEL), Brazil. After working for a famous Fashion Haute Couture business and as a producer for a major publishig house in Brazil she moved on to new challenges. She received a DAAD scholarship to attend a MFA in Media, Art &Design at the Bauhaus Universität Weimar, Germany. She is currently working with e-textiles and technology in the field of new media arts.





The project was developed for the Interface Design course during the MFA. in Media Arts and Design at the Bauhaus University.


With a background in Fashion Design, I wanted to test the limits of the textiles in combination with electronics, which was something new that I was learning.

My goal was to develop a streetwear MIDI board T-shirt. The main goal is that one can wear it as regular t-shirt but activates it whenever attaches the hardware part to the t-shirt through magnetic connection.

technical failure

The ink on the t-shirt is very responsive, however, the hardware box was placed in the chest and it was too heavy to hold in the t-shirt. The consequence is that in a live performance made during the exhibition organized by the University (Summaery 2016), the t-shirt failed big time. Whenever I made some movement, the hardware box would disconnect from the t-shirt. Also, the design of the pattern wasn’t helping because it was small.

I worked harder to get the prototype to the second level. The pattern was changed and the hardware shrinked, but now using buttons instead of magnets.

Positively, it was good to iterate, understanding the strengths, weakness and the level of reliability of the prototype.



I have a strong connection with textiles since a child. At the age of 10 I could embroider, tricot and make crochet. Such connection lead me to study fashion design. Now, I mainly make art out of textiles and part of this learning curve/fun is to play with electronics.

Considering the clothes as the human second skin, the textile is the material that are always in contact with the human body. When it come to capture human data, it is the material less obtrusive to the body. I believe that textiles can support advances in health care and sport performance enhancement.

Electronic features should be seamlessly integrated to the textile surface instead of being attached to it.