Functionality for All! Exploring the Underrepresentation of Women in the Field of Technical Design
In the mainstream, fashion is stereotypically considered to be a ‘women’s thing’, whether it’s the abundance of female influencers, fast fashion conglomerates that are heavily gender-specific or the portrayal of the industry in films and television. However, the statistics tend to paint a different picture with men overwhelmingly holding higher positions than women in the industry, despite being outranked by them in a quantitative sense.
For example, more than 85% of graduates from top fashion schools are women, yet they run only 14% of the top 50 major global fashion brands. Even though women are the primary audience for fashion brands from all strata of the fashion sphere, the industry operates in a way that disregards those that feed the ever-revolving machine: they are underpaid, underrepresented and becoming increasingly unequal. As mentioned, the issues that we have outlined aren’t particular to the higher echelons of fashion or fast fashion that is fuelled by rampant consumerism; instead, it trickles down to all areas as if it has a triple-A pass.
The field of technical design is our bread and butter: it’s what we know best. But, from the inside looking out, it is a largely male-dominated space and we wanted to use this as an opportunity to shine a light on some of the up-and-coming female talents. As this new wave of well-versed individuals emerge or stand their ground, there is still largely an overwhelming underrepresentation of women in this corner of the industry which, in itself, raises a whole host of problems for consumers and those who are looking to make a name for themselves.
In a performance context, the consideration for female-specific anatomical needs goes out the window leaving people who are looking for functional wear high-and-dry as the garments aren’t always 100% fit for purpose in a functional capacity. Typically, the technical details and silhouettes vary depending on whether you are male or female. In the past, we have heard instances of women buying industry-leading shell jackets in smaller sizes as they don’t offer a suitable alternative for their gender.
Fortunately, for gender equality, as a new generation emerges they bring with them fresh ideals that seek to invoke change at all levels, so it isn’t all doom and gloom. To name a few of the many who are either on the rise or have established themselves already, we count Early Majority, Alice Carvill of ARCS, Megan Humphreys who is behind Functional Collective and Schusser Threads. With these individuals either conceptualising innovative designs of their own or regularly bringing them to a physical light, the matter at hand is on an upward trajectory, perhaps a sign that the tables are set to turn in the favour of everyone.
As more women begin to fill the roles in this particular space, it ensures that everyone's needs are adequately met. Inspired by the desire to create meaningful garments that can protect the wearer and enhance their performance in a function-forward environment, several female designers who are both up-and-coming and established are taking it upon themselves to redefine our notion of functionality and raise the profile of issues of inequality.
To immerse ourselves in the reality of women that are actively working in the technical outdoors space - whether they be designers, creatives or consultants - and understand the picture from the inside, as opposed to looking inwards, we got in touch with a handful of those who are on the Sabukaru radar.
Megan Humphreys [Functional Collective] - Technical Sportswear Designer
Hello! Please could you introduce yourself and what you do for the Sabukaru readers?
Hello, I’m Megan [@functional.collective], a sportswear designer who has a passion for creating functional yet fashionable modular sportswear for, predominantly, women with a strong awareness of the need to be inclusive.
Could you tell us a little bit about your approach to design and what informs the decisions you make when conceptualising a garment?
Over the past years, I have noticed a huge lack of functional women's sportswear that is designed to fit the female form which has fuelled me to take a highly technical approach to my work. Through modular design, my aim is always to problem solve leaving the consumer with the ability to enjoy the sport and not be restricted by the garments. I find I get the most out of my designs when I study the sport and the person closely through movement analysis, interviews and really getting a feel for the user, which I do by putting myself in their shoes as much as I can. I find this is what allows me to have such a functional approach to sportswear design.
Do you think that the field of technical garment design is largely male-dominated? If so, why?
Yes, I do believe that technical garment design is largely male-dominated. I think this is because, in previous years, women’s sport hasn’t been at the forefront of the industry. However, change is coming and this has been demonstrated in the recent increased interest in women’s football and rugby.
As a female working in the field of technical design, how would you say your perspective/approach to work is different?
Over the past few years, I have noticed that women’s technical design mostly stems from men's garments which has fuelled me to take a highly functional approach towards women's sportswear. Through modular design, my aim is always to problem solve, leaving the consumer with the ability to enjoy the sport and not be restricted by the garments. I would say what makes my approach to design different is I study the sport and the person closely through movement analysis, interviews and really getting a feel for the user which I do by putting myself in their shoes.
Is there a way for consumers to empower females working in the industry and encourage equality?
Through my research and talking with the female consumer, I found that all the women I spoke to expressed a need for technical garments that were designed to fit the female form, this covers an array of female sports and levels. However, this was feedback that I sought out; I, therefore, feel that women need to find ways in which they can voice their needs. Unfortunately, this is a bit of a chicken and egg situation, you can only raise awareness if there is a known demand.
As you are now a graduate, what are your plans and ambitions assuming that you plan to stay in the industry?
My ultimate goal is to own my own women’s sportswear brand that is similar to my graduate collection, but I am currently looking to work in the industry for a few more years to gain some experience. At the moment, I’m working as a repairs specialist for Finisterre where I’m enjoying learning about that side of the industry which I feel is very important in our current climate. I have also just accepted a job as a junior designer for the team sports apparel team at PUMA, Germany which I will be starting in the new year!
Bonnie Carr - Designer and Founder of Not For Archiving - [notforarchiving]
Hello! Please could you introduce yourself and what you do for the Sabukaru readers?
Hey, I’m Bonnie. I run Not For Archiving and work in outerwear and sustainability. As well as design work, I consult on things like fabric choice, and how to approach technical apparel or implement innovation so better, non-damaging products can be produced.
If possible, please can you expand on some of the past projects that you have worked on?
I worked with a Scandinavian label and learnt basic pattern cutting from an amazing female there who’d worked for Issey Miyake and Rick Owens. I began to help form footwear and cool, sustainable collaborations for PFW. I would try to understand all the moving parts of fabric choices, production and running a clothes brand. Through this, I got to work on smaller projects including self-motivated stuff that would help me see how my archival and technical research might fit in.
I kept on with my knitting and construction with natural and alt fibres too. I offered my ideas cheaply or just for experience and connection, all the time trying to gain critique on my ability to conceptualise garments, objects, and feelings - keeping myself afloat by championing mending and maintenance for luxury and sports brands, with no repair arm. Here, I learnt more about how to build and maintain this technical gear, extend the life of luxury garments and fabrics, and repair and evolve footwear to keep them in use in the future. This project is a full-scale platform, working with Net-A-Porter and more now.
So, with all this and the experience it bought, NFA serves to contextualise my own design ideas and projects now, whether that be an intricate pocket on a running jacket or how a 5-piece outerwear collection should broach tactility and aesthetics. I’m trying to formulate all this into something more cohesive via NFA, but design consultant is ok for now. I do think most of the female syndicates are multi-taskers, though. We have a mix of logical and ethereal skills, which can present comfortably through many mediums. The ingenuity and instinct women have always needed for survival, I suppose. I would love to try developing some kind of clothing system still after Covid nulled a few opportunities. Perhaps I’ll get back to this, but only if zero waste would be achievable in the very close future.
Do you think that the field of technical garment design is largely male-dominated? If so, why?
There are lots of females working in technical garments, but there is still an obvious cultural imbalance. Statistically, the story shows us tackling equality, but in reality, it’s weighted heavily towards men. It’s an area, converse to its high-tech raison d'être, slow to accept female power. One of the issues for me is helping women into these areas of design. It can be daunting to work with all-male technically-minded teams, having to consistently uphold your ideas as a woman, in ways your male counterparts would not be expected to.
The conversation is just different, you know? I would say to any woman who wants a chair at that design table, you’re going to have to know your shit to get past the dudes sitting in your seat. But, look, lots of new male teams are trying hard to get it right, which is super admirable. It’s those guys that are pulling the technical industry forwards. They’re the new bionic arm of the bloke brontosaurus, so to speak.
Let’s discuss Not For Archiving™️! As you share designs from past and present, how do you think the landscape of technical clothing has changed or not?
I do think the landscape has changed a lot. We have watched this idea of the ‘technical’ become mainstream fashion again, as opposed to a form of expression for a subculture or the genuine need for the sport. It’s the timing now though, right? Finally, I think garment technology and everyday functionality are connecting more congruently rather than jumping crevices between what we want to make and what’s possible. We can now build primitive pathways.
With software like CLO, the waste reduction that brings alone! The beginning of AI, ChatGPT capabilities, 3D printing becoming more accessible, fruit fabrics, you know, I think this time it feels slightly less gimmicky and more aligned with some of the functionality we are actually going to need as earth-dwellers in the not-too-distant future.
As a female working in the field of technical design, how would you say your perspective/approach to work is different?
I have had to work harder than a man to prove my ideas, show more of my intention and references, and prepare lots more proof that I’m able to produce, as a woman in a man’s arena. I have to dig deeper, know more, offer more and be more. I realise perhaps men don’t recognise their gender bias fully. But women are bored now of saving men from their assumptions. We’ve done the deep work on ourselves and we're ready to just get on and achieve. Skill-wise technically, I think women excel. We are so sure of our emotive instinct that good design relies upon, that once we feel supported and listened to, we flow. We hold a confidence that the right male support actually unlocks, rather than hinders. A woman’s input should be actively sought out by all-male teams and agencies.
Is there a way for consumers to empower females working in the industry and encourage equality?
I think consumers could research and get into technical brands designed and run by women, for sure. But, the issue with this is that aesthetics will always win out. I mean, perhaps you just don’t fancy the look of the jacket, right? No conscious gender issue, you just don’t like it. This leads me to simply remembering to put your sisters on. If you can, allow the right woman- as we won’t always ask for support from men, being so tired of that patriarchal dynamic.
We want to be listened to, included and given a chance, not to implement ‘girly’ design touches or to glue glitter to Goretex, but because technical design should be well executed, highly empathic and encourage emotional response through impeccably referenced design work. You want deep understanding and human connection in a time when brands exoticise authenticity.
We live in a ‘sick bro’ culture which rejects a deep understanding of technical design. A male congratulatory public cycle, crucially without critical appraisal of actual design ability. It is this cycle that has repeatedly dropped the global design bar. This has quite a lot to answer for now we are crushing our planet, producing badly designed, empty technical products. So yeah, we need the traits of womankind and sisterhood, more than before. I think we need to use striving for gender equality in this industry, to raise that design bar back up, for the sake of the planet.
Lastly, would you care to shout out any female designers and women-owned brands occupying this space?
I’d love to! Rosie Broadband’s ‘Skin Series’ [@skinseries_] and her push for biomaterial innovation, Suzanne Oude Hengel [@knitinmotion] for her knit engineering and Johanna Parv’s [@johannaparv_] functional designs retrospectively reserved for male sportswear become fluid and feminine pieces. Early Majority’s [@earlymajority] future-facing membership system on how we produce and purchase technical clothing into a non-patriarchal future, Institute of Digital Fashion [@institute_digital_fashion] for women, queer, non-binary and trans folk founded by Leanne Elliot Young and Cat Taylor, are making big moves too. Ying Gao [@livingpod] for her interactive and robotics work, Irina Dzhus [@dzhus.conceptual.wear] for her intuitive dual-use collections and, last but by no means least, Sedge [@sedge.sj] for her focus on maximum performance whilst still ensuring inclusivity through fit, form and functional design. Lots of interesting females to watch and support in 2023, this is just a few who come straight to mind.
Robyn Orrett - Sportswear Designer at Rapha and Cyclist
Hello! Please could you introduce yourself and what you do for the Sabukaru readers?
Hey, I’m Robyn, I’m a product designer from Kent. I work at Rapha [@rapha] as an apparel designer, currently focusing on design within several ranges/product categories.
With a background in technical sportswear, how did you find yourself at Rapha?
I would say it was one of those ‘one thing leads to another’ situations. It was quite serendipitous, to be honest, and a silver lining amidst the pandemic. Cycling apparel was never an initial discipline I had thought about designing for, nor was Rapha even on my radar when it came to brands I had heard much about, let alone wanted to work for.
During peak lockdown, I was back living at home after shortly returning from Germany doing a traineeship. I came across some of Rapha’s products on Instagram around the time they collaborated with the LA-based brand, Outdoor Voices. Around the same time as that, I saw a job opening in colour and trim development which sounded intriguing. Throughout my previous experience, colour and componentry were parts of product design that I loved learning more about so thought the role could be a fun opportunity and a step in the right direction for growing my skill set as a designer.
While the hiring process was happening, I managed to bag a temp job at a local coffee shop which was a Kentish hotspot for cyclists - it was there I learnt more about Rapha and its ties to cycling, and also segments of the cycling community. We essentially shared the same customer, so it proved valuable to engage with them, chat and ask questions related to Rapha, the kit and their bikes.
I got chatting with a guy who owned a bike shop up in Whitstable and he helped me hunt down my first road bike. Cycling became a world I became fascinated by and all the more eager I was in securing a job at Rapha.
Fortunately, I got the job and working in the product engineering team allowed me to learn more about the technicality of products and the nitty gritty development process which you don’t always experience properly when in design. It wasn’t until a year of working for Rapha that a position in apparel design was open and I couldn’t hold off the chance and managed to get the job and have now been working in my role for 2 years.
Do you think that the field of technical garment design is largely male-dominated? If so, why?
I would be naive to make an accurate judgment, however, based on my own experience, I would say there are more women in the industry designing and developing apparel. Technical design is such a blurred and huge part of the apparel sphere, a discipline that spreads across so many areas of the apparel industry. I think it’s only perceived as male-dominated due to the segment that currently has a big following, brands or trends that are currently popular and also what is seen over social media.
On the other hand, I do think technical garment design is also part of a much bigger, male-dominated culture, particularly when we think about sports and brands centred around sports. Using cycling as an example; holistically it’s still very much a man’s world, from athletes to customers, so would be assumed that the majority of people working within that world are male.
Hypothetically speaking, if you were to start a brand of your own, would you go down the path of cycling-focused wear?
I would certainly have cycling as a focus given my experience but I don’t think I would exclusively design cycling apparel. My approach would probably reflect my interests and also where I see the market going in terms of lifestyle, sport, performance and also fashion.
Ideally, I’d want to create versatile clothes, technical, modular designs and curated outfitting for different people who enjoy being active, are playful with style and love being outdoors.
As a female working in the field of technical design, how would you say your perspective/approach to work is different?
That’s a tricky question because I wouldn’t say there is any distinct relationship between being female and my approach to work. My role involves designing for both men and women so for me the most essential attribute to have as a designer is to be empathic in my approach. Of course, I can probably relate to female customers more, being a female myself, but that shouldn’t be a hindrance when I design products for men.
Is there a way for consumers to empower females working in the industry and encourage equality?
For sure, but it is like one of those chicken and egg scenarios whether empowerment starts from within the industry and projects outwards onto consumers, or vice versa.
Generally, consumers are quite disconnected from the people on the inside working within certain industries and usually only know those leading, or with influence and the pioneers of that specific industry. This is why I think regardless of what your connection is to the industry, representation and influence are key drivers for empowerment. I wouldn’t say I’m leading in the industry (yet!) but I would say I am pushing myself to be that representation for women in technical apparel design that the industry needs.
Lastly, would you care to shout out any female designers and women-owned brands occupying this space?
Someone who I have been utterly obsessed with since her CSM MA is designer Johanna Parv, so my first shout-out goes to her and her work. She’s hit the nail on the head when it comes to hybridising performance, technicality and elegant, luxury womenswear at a time when fashion meets sportswear has become very saturated. It’s designers like herself that keep the industry innovative and exciting, creating new silhouettes while solving very apparent day-to-day problems for female cyclists.
Another female designer to who I want to give recognition is Johanna Schneider. Her resume is super impressive and an amazing representation of a woman leading the way in menswear and sportswear. She has worked for brands such as Acronym, collab with Nike Lab on her own collections and also works with Stone Island - she is a big inspiration to me.
Last, and not least, I would like to shout out the women within my team at Rapha. A bunch of inspiring apparel designers who between them have such a huge breadth of knowledge, wisdom and experience that I’m so grateful to be surrounded by every day.
Kseniia - Designer and Founder of Functional Clothing Lab
Hello! Please could you introduce yourself and what you do for the Sabukaru readers?
Hello, my name is Kseniia and I run my brand, Functional Clothing Lab [@Functional_clothing_lab], where I focus on creating unique products for various outdoor pursuits.
Through your designs, you work with several materials from Tyvek to Ventile, can you tell us what your favourite one is and some of its technical properties?
The best material is the one that works best for specific conditions and design, so it’s hard for me to pick one. But, when I think of my current fabric collection there is one that is more precious to me than others, in part because I got it as a leftover and I won’t have it ever again. But, speaking of technical properties: it’s 34 g/sqm down-proof nylon featuring micro ripstop weave and it’s semi-translucent and matt, meaning it wouldn’t stick to your skin if it’s sweaty/wet which is very rare among down-proof fabrics. It also smoothens out quite fast after being tightly stuffed and it looks like new after a year of wear without even being washed once. Lastly, it’s blaze orange which is my signature colour.
Do you think that the field of technical garment design is largely male-dominated? If so, why?
It seems that way. I’m not sure what the ratio is in big outdoor companies, but smaller brands are mostly founded and run by men, one can tell this simply because most of them don’t offer a line of womenswear. Maybe we have to first look at the fashion industry in general where most renowned designers are men. Now, zooming in on our niche field of technical clothing one can seemingly explain it easily: technical clothing ought to be practical, typically men are more oriented on being practical hence they are more likely to become technical clothing designers.
As a female working in the field of technical design, how would you say your perspective/approach to work is different?
Well, for one, I naturally dedicate more effort to making clothing that serves female bodies better. For example, my down shorts, I don’t think a man would devise such a thing because he would never have experienced the problem that led to that design solution. I think women can design better women’s clothing than men.
Is there a way for consumers to empower females working in the industry and encourage equality?
Sure, buy from women-owned brands!
Lastly, would you care to shout out any female designers and women-owned brands?
Sure! I urge readers to check out the list of women-owned gear brands that ripstopbytheroll [@ripstopbytheroll] posts every year on their Instagram on International Women’s Day. But, I’d like to give a special shout out to three of the women on that list: Sarah from Vanderjacket [@vanderjacket], Eva from Dyborg.Gear [@dyborg.gear] and Abi from Schusser Threads [@schusserthreads].
Alice Carvill - Founder of ARCS and Designer for Story mfg.
Hello! Please could you introduce yourself and what you do for the Sabukaru readers?
Hi! My name’s Alice Carvill [@alicecarvill] and I run the London-based technical bag brand, ARCS [@arcs.london].
Do you think that the field of technical garment design is largely male-dominated? If so, why?
In my opinion, for a long time, technical clothing was developed for male-oriented activities and, as a result, male customer was the primary focus. Alongside this, though, it’s thankfully now an outdated narrative, whilst I was studying and in the early days of my career, it was deemed acceptable for men to work or be interested in fashion if it were in the technical rather than the ‘pretty’ side – and with females the reverse.
Naturally, these factors both led to a male-dominated industry which of course makes it harder for females to break into. The last few years have seen the dynamic shift significantly - the trend has of course been a massive catalyst - very male-centric brands are starting to provide the female customer with the same offering, and women can finally tap into these brands and become more visible in these environments both creatively and socially. It’s not a level playing field, but it’s getting there.
As a female working in the field of technical design, how would you say your perspective/approach to work is different?
I’m very aware of the female body and making sure that things are form-fitting for both sexes. But relative to what I was talking about earlier, I think my perspective isn’t that different. We understand fabrics, fit, technical demands and problem-solving and innovate equally to anyone else.
Is there a way for consumers to empower females working in the industry and encourage equality?
I would hope that the way that the ‘scene’ is growing for women will mean this naturally happens. Giving the time and space to listen to and observe the things so many amazing women in this industry are doing would gratefully speed this up.
How important is it to you to be open-minded and conscientious throughout all aspects of the design process, whether it’s concerning gender or sustainability?
To be honest, these are the starting blocks for me: the base of every collection is the fabrics so this goes hand in hand with sustainability. I’ve just developed our first clothing range – I wanted to make the collection as unisex as possible - which it is - but I’m aware that not everything can be unisex and be a GOOD fit. The range is unisex in garments which don’t need to be specifically tailored to a gender, but as fit is one of my biggest priorities, the collection is conscientious to fit the respective gender.
In regards to your work with ARCS and Story mfg., a lot of the garments are gender inclusive and accommodate the differences in body shape. Is this a limiting factor at all or are people more open to the idea of unisex wear?
Yes, of course. Many things can be unisex and, to be honest, I was buying things from men’s brands for years before the same brands started selling the same pieces on women’s floors. It’s much less limiting and desirable to have a broad range of unisex styles which is what I aim for. However, hand in hand with what I said previously it depends on a garment’s silhouette – being a girl on the more petite side, not all unisex garments can fit me, every garment has to be treated individually.
Lastly, would you care to shout out any female designers and women-owned brands occupying this space?
Yes! The agency I work with, Awaykin [@awaykin], has some fantastic women-owned brands – Xenia Telunts [@xeniatelunts] and Cawley Studios [@cawleystudios]. I also have a great friend, Karen Olla [@karenolla], who runs Oré mi candles [@oremistudios], which is female-owned and made from scratch by herself.
Abigail Burgess - Founder of Schusser Threads
Hello! Please could you introduce yourself and what you do for the Sabukaru readers?
Hello Saburaku readers! My name is Abi [@abigailburgess] and I run a small business called Schusser Threads [@schusserthreads] in Torquay, Australia, which offers made-to-order outdoor apparel. Alongside my business ventures, I have enjoyed working as a machinist for Terra Rosa Gear [@terra_rosa_gear] and dabbled in some freelance design work for outdoor brands until recently when I started work as a product developer for a large Australian surf brand.
In your field, how much of your design process leans on user feedback, wear-testing and personal needs?
The apparel I work with is centred on functional outdoor use. People use the gear for a variety of activities including hiking, bike packing, rock climbing, mountain biking, and skiing. User testing and feedback are essential for improving and altering products to fit the needs of the people using them. While I prefer to keep the aesthetic design aspect personal, getting others to wear the apparel during the design process helps to amend patterns and keep the products user-focused. Receiving feedback and criticism from different people throughout the design process, and even after the product are in use, is so valuable to ensure a product works for a variety of bodies and end uses. At a certain point, feedback may become too specific and I would recommend custom gear for those who will use/ need extremely specific items.
Do you think that the field of technical garment design is largely male-dominated? If so, why?
While men and women from places all over the world have always been connected to the outdoors, early European mountaineers and outdoor explorers were not the most inclusive of women. There were outliers and women that pushed the limits, but most clothing made for these early expeditions was designed for the people doing the activities, by those who did them - males.
This has continued to be a theme across modern history in technical apparel design, specifically in more extreme sports. All that said, workplaces today are becoming more equal. Brands are embracing female designers who are creating apparel for women, by women, who know the differences in our bodies and how to design for that. There is still a long way to go in closing the gender gap and getting more women excited about design, development and engineering of textiles and technical clothing, but I'm confident in today's world that more girls will be exposed to this side of design and find their niche within it.
In addition to being aware of gender inequality throughout your work, what else are you actively seeking to solve through design?
Aside from offering certain products tailored for women, I'm passionate about offering a "slow fashion" option - locally made outdoor apparel that is made to order. Taking this approach allows customers to consider what they're buying, why they're buying it and who is making the item. Offering repair services to customers is also something I value, and even just answering questions to help someone repair their own gear helps keep apparel in use and out of landfill/textile recyclers for much longer. Using renewable, natural and eco-fabric options where they will work is also a theme across everything I do. We should be protecting the world we enjoy! Eventually, I'd love to team up with textile recyclers to offer apparel in a closed-loop system as an end-of-garment life option! It's amazing how many technical textiles don't have easy and readily available recycling options. Even more of a reason to think before you buy!
As a female working in the field of technical design, how would you say your perspective/approach to work is different?
As a girl in the field of technical design, I do approach most things with women in mind. Growing up, I noticed that many outdoor clothes never fit, and if they did, they never provided enough room to move or weren't flattering, so I opted for men's clothes because they usually fit more comfortably. You'll notice that many items that I offer through my store are unisex for this reason. Over time, this approach has shifted slightly to offer options for women that are fitted specifically to women's bodies. With so many brands using basic, blocky fits in outdoor apparel, offering something with more shaping for women seemed like the right approach. So many lovely people have come forward to share their experiences with outdoor clothing in ways that they may not have if I didn't identify as female, and this ongoing feedback has helped immensely.
Is there a way for consumers to empower females working in the industry and encourage equality?
I think the best way to empower people is to support them. Buy from your local female-owned store, and support brands that research, design and truly put time into making sure their products fit everyday female consumers. If you are a female, don't be afraid to speak up, give feedback or express your opinion on products. Educate anyone who says otherwise. Tell your friends if you find a great product that may make another woman's outdoor experience better!
Lastly, would you care to shout out any female designers and women-owned brands occupying this space?
- There's Kseniia of Functional Clothing Lab [@functional_clothing_lab] who has been helpful and shared her knowledge with me in so many ways.
- Skin Series [@skinseries_] is a range of beautiful and innovative next-to-skin garments designed by Textile Engineer Rosie Broadhead [@rosiebroadhead_].
- Not specific to outdoor, but Pauline van Dongen [@paulinevandongen] is a textile engineer who explores our relationships with smart textiles.
- Kel Tech Gear [@kel_techgear] is a gear maker from Canada who specialises in all things bags.
Flavia Bon - Design Developer
Hello! Please could you introduce yourself and what you do for the Sabukaru readers?
I am Flavia Bon [@frau.bon] and I have worked as a Design Developer for over ten years. From the beginning, I always had the desire to create products that have not yet been seen and this has made me a versatile developer in various disciplines, like avant-garde, menswear, accessories, leather goods and material design.
Do you think that the field of technical garment design is largely male-dominated? If so, why?
For sure, the majority of leading voices in the industry were mainly males when techwear began to emerge from the underground. In my opinion, the high representation of men in many design fields can be attributed to competition. In an emerging field, many want to be at the forefront and establish themselves as leaders which often requires a competitive mindset and a constant presence in the industry and the public.
As a female working in the field of technical design, how would you say your perspective/approach to work is different?
I am becoming increasingly aware of the issues as I gain perspective and distance and enter new fields where I see that it could also work differently. I find myself feeling more at ease in the virtual design world where fashion intersects with software development, 3D design, and game design. In this space, I experience a very high level of inclusivity and a strong emphasis on open-source principles, which allows for contributions from people of diverse backgrounds and experiences to an industry where collaboration is key in executing complex projects. I really hope that the adaptation of these new technologies has the potential to not only modernize outdated working processes but also foster a more inclusive and collaborative environment within the industry as a whole where the focus is on the outcome and quality of it.
Is there a way for consumers to empower females working in the industry and encourage equality?
Awareness of how the system works must be fostered and consumers must inform themselves to make buying decisions with thoughtful consideration. As with everything, we need to navigate the world with a critical eye. So, don’t just buy the hype - always dig a bit deeper!
Please would tell us about some of the most memorable projects you have worked on.
I had the pleasure to be part of many forward-pushing projects, including developing new classes of leather together with the technical wizards in the R&D at Ecco Leather, like Apparition, the first pliable translucent leather or Dyneema® Bonded Leather. Or, creating minimalistic yet highly complex leather bags together with Kostas Murkudis for At Kollektiv.
However, Augmented Weaving, the latest project that I initiated together with Anita Michaluszko has quickly risen to my most memorable project and the best thing about it is that we are just at the beginning. It is the place where all our experience and future-oriented imaginations collide and create new unexpected opportunities to take our craft one step further.
As you work at the intersection between virtual design and fashion, what are some of the ways you see the two evolving in the future?
Fashion is a form of expression that is built on our heritage and knowledge of garment creation. The focus has shifted in the past decade and with the increasing speed of production, the appreciation of craft has become secondary and isn’t valued as it should be.
By using virtual design we can save time and resources while concentrating on the creation of the items. It requires a deep understanding of how designs are made when we create them entirely digitally and forces us to fully focus on the craft again. This way we transform the craftsmanship into the digital space and we are futureproofing our old knowledge and even enhancing it, both digitally and physically. I find that very fascinating.
I am speaking here from the perspective of a designer and that is just one aspect of so many more…
Lastly, would you care to shout out any female designers and women-owned brands occupying this space?
Technical & Accessory Designers:
Alei Verspoor [@aleiverspoor] and her brand @pack_bags
Miranda Kaloudis [@mdk_miranda_kaloudis]
Virtual/Digital Fashion Design:
Shayli Harrison [@shayli_harrison] and her brand @mutani.io
Stephy Fung [@stephyfung ]
Stella Achenbach [@stellaachenbach]
Text by Ali George Hinkins
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