Published 14-07-2025
Keywords
- human-centered design,
- invisible fashion,
- five senses,
- design for human and non-human
How to Cite
Copyright (c) 2025 Martina Motta, Giovanni Maria Conti

This work is licensed under a Creative Commons Attribution 4.0 International License.
Abstract
As fashion and design researchers, we have embraced a human-centered design approach that emphasizes the relationship between people and objects as functional tools. Yet, fashion goes beyond utility; it embodies frivolity, playfulness, and social communication, often conveyed implicitly through garments. This article envisions a future where our engagement with fashion transcends mere appearance, highlighting research involving fashion designers collaborating with blind individuals to understand their relationship with clothing. Using ethnographic studies and qualitative interviews, the research examined how non-visual senses influence garment selection and wear. Designers emphasized tactile, auditory, and olfactory experiences to create “invisible” textiles and garments, challenging the conventional emphasis on visual aesthetics in fashion. This initiative encouraged designers to move beyond functional or trendy solutions toward meaningful interactions embracing diversity. Findings revealed that fashion enjoyment, decision-making, and emotional connections can be redefined beyond aesthetics to promote sustainability, shareability, engagement, and equality. Invisible fashion is designed for those often excluded from traditional human-centered design. While not fully realized as post-humanism or more-than-humanism, this approach suggests a new fashion paradigm valuing all senses equally and fostering positive experiences for humans and nonhumans alike.
References
- Alexander, S. (2016). Entropia: Life beyond capitalism. University of Queensland Press.
- Eckman, M., Damhorst, M. L., & Kadolph, S. J. (1990). Toward a model of the in-store purchase decision process: Consumer use of criteria for evaluating women’s apparel. Clothing and Textiles Research Journal, 8(2), 13–22.
- Fiorani, E. (2020). La matta di casa. Iconografie dell’immaginario. Lupetti.
- Fiorani, E. (2021). Scintille d’umanità. Lupetti.
- Fletcher, K. (2015). Craft of use: Post-growth fashion. Earthscan.
- Fletcher, K. (2022). Perspectives: Earth raising. Sustainability: Science, Practice and Policy, 18(1), 129–131. https://doi.org/10.1080/15487733.2022.2027675
- Forlano, L. (2017). Post-humanism and design. She Ji: The Journal of Design, Economics, and Innovation, 3(1), 16–29.
- Giaccardi, E., & Redström, J. (2020). Technology and more-than-human design. Design Issues, 36(4), 1–12.
- Haraway, D. J. (2016). Staying with the trouble: Making kin in the Chthulucene. Duke University Press.
- Jackson, T. (2009). Prosperity without growth: Economics for a finite planet. Earthscan.
- Kumar, A., & Singh, R. (2020). The impact of visual merchandising on consumer behavior in the fashion industry: A review. International Journal of Retail & Distribution Management, 48(9), 891-911. https://doi.org/10.1108/IJRDM-05-2020-0153
- Latour, B. (1993). We have never been modern. Harvard University Press.
- Manzini, E. (2022). Fashion as diversity and care. Sustainability: Science, Practice and Policy, 18(1), 463–465.
- Molotch, H. (2003). Fenomenologia del tostapane: Come gli oggetti quotidiani diventano quello che sono. Raffaello Cortina Editore.
- Motta, M. (2019). Designing Knit Designers. FrancoAngeli
- Norman, D. A. (2013). The design of everyday things. MIT Press.
- Pinotti, A. (2022). Il primo libro di estetica. Einaudi.
- Vaccaro, K., Shivakumar, S., Ding, Z., Karahalios, K., & Kumar, R. (2016). The elements of fashion style. In Proceedings of the 29th Annual Symposium on User Interface Software and Technology (UIST '16) (pp. 777–785). Association for Computing Machinery. https://doi.org/10.1145/2984511.2984573