Our initial idea was to create a texture which would have the ability to perform a series of behaviours. When we will be referring to texture, we will be using the definition of art, which is the quality given to a work of art by the composition and interaction of its parts and in our case of its materials. So as to define the behaviours for this kind of texture, we chose to experiment with the human body in terms of its senses and its shape. We also took into our consideration the constraints that are implied by the materials used, i.e. the elasticity, the stiffness, the adaptability. By combining the senses of a body and the limits/benefits of the material used, we saw the new behaviours that could occur. In the meanwhile, and also having in mind the human body, we concentrated on the concept of a person respond immediately to the changes or transformations that would happen on something that is on their body. This led us for the moment to the idea of creating something wearable, that could potentially have implications in bigger scale too.
Shapeshifting is a common theme in mythology, folklore, and fairy tales. It is also found in epic poems, science fiction literature, fantasy literature, children’s literature, Shakespearean comedy, ballet, film, television, comics, and video games. In its broadest sense, shapeshifting occurs when a being (usually human) either (1) has the ability to change its shape into that of another person, creature, or other entity or (2) finds its shape involuntarily changed by someone else…………
A young character may learn of his shape-shifting abilities, and exploring them becomes part of a Bildungsroman. Mavin Manyshaped and her son Peter in Sheri S. Tepper‘s True Gamenovels are both shifters, being a subspecies of humans having this power, and in both, the learning of their abilities is a large portion of their growing up.
Butterfly Dress: Responsive Fashion