Re Sensualize

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FA S H I O N T R E N D F O R E C A S T I N G M A S T E R 2 0 1 7
Polimoda International Institute Fashion
Design and Marketing
F A R E N TA M I
C H A Y A N I T K U N T H AT I M
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RE-SENSUALIZE
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P R E FA C E P R E FA C E
TA B L E O F C O N T E N T TA B L E O F C O N T E N T
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TREND
36
TOUCH
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PROPOSAL
/
BIBLIOGRAPHY
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F U T U R E F I LT E R S
A PRIORI
NAIVETE A P P L I C AT I O N
ELLERY
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HEAR
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APPENDIX
62 SMELL
124
IMAGE
CREDITS
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A PRIORI A PRIORI
A- PRIORI
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A PRIORI A PRIORI
The 21st century technology era

has molded a society filled with noise and
unfocused attention. We live behind a fil-
P R E FA C E
ter of advertisements and mass-consumer
products, a virtual world bombarding us
with messages that understand our de-
sires better than we do. These images
have shaped us into predominantly visual
beings, moving toward a virtual world of
People love a sense of destiny; we love false identity and ultimately a false sense
to feel we have arrived at where we were always of reality.

meant to be – at the final stage. But what is the
final stage if we are never satisfied with the end
result? Since the birth of the machine, the world
has been in a constant state of rapid influx of As the trend moves toward the virtual world, we be-
mass-consumer products. There is no final stage lieve there will be a counter trend developing in the next five
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to a system that has not allowed us to slow down years that will bring us back to empiricism – where the belief
RE-SENSUALIZE
– we are on constant consumer overdrive. We (or in this case, the decision) is explored through the sense ex-
consume more than we need, which has caused perience. From the beginning, as infants we investigate and
us to loose focus on why the object was creat- enjoy this journey of exploration and creativity. This method
ed in the first place. All this noise has created of developing our identity through our sensorial perceptions
consequences: less satisfaction, confusion and is what shapes our external world and it is important to being
sometimes no decision at all. Are we just bored, in our body. We believe these child-like qualities in senso-
and constantly searching for newness? As con- ry exploration will bring about a strong, confident individual
sumers we repeatedly feel unsatisfied; we reflect that will empower decision, as well as motivate the consumer
on the past and look toward the future – but for further discovery. This trend is what we believe will have
what about the now? purchasing power in the long-term. Therefore, this trend pro-
posal will be focused on presenting a pragmatic approach
based around the sense experience and the assessment into
the process how these experiences will shape consumer deci-
sions in the future.
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A PRIORI A PRIORI
THE BIRTH OF THE MACHINE THE BIRTH OF THE MACHINE
THE
THE
MACHINE
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BIRTH OF
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A PRIORI A PRIORI
THE BIRTH OF THE MACHINE THE BIRTH OF THE MACHINE
Since the industrial revolution in

the birth
of the
the 18th century, Britain brought about
a process of change that moved from a
rural handicraft economy to one that will
machine
forever be dominated by the machine.
This birth of the machine gave way for
technological changes that brought on
the mass-production of manufactured
goods along with the status symbols of
these objects.
“The hegemony of
vision has been rein-
While previously the norm

had been the scarcity of resources,
forced in our time by The technological advance-
ments in these different areas of the
the industrial era created an un-
precedented economic situation.
a multiplication and industries allowed many business-
es to be more creative in design
This new era dramatically increased production of images”. as well as increase production rate
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the availability of consumer goods, with a smaller expenditure of hu-

these changes made way for in- J U H A N I PA L L A S M A A man energy. These trends in innova-
novative ideas about shopping; tion accelerated as rising affluence
the beginning of the department and social movement increasing the
store represented a paradigm shift number of people with disposable
in the experience of consuming income for consumption. Important
commercial goods. For the first shifts in the market included the ad-
time, customers could buy a vari- vertising of these goods, the new
ety of goods, all in one place; the status of goods related to changes
department store became a popu- in fashion and desire for aesthetic
lar leisure activity. For the first time appeal started becoming symbols
in history products were available of luxury as opposed to objects of
in mass quantities, at considerably utility.
low prices were available to practi-
cally everyone in the industrialized
world.
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A PRIORI A PRIORI
COMMODITY FETISHISM COMMODITY FETISHISM
COMMODITY FETISHISM
There is strong evidence that
Commodities began to loose the when consumption is used to try to
connection with the objective value; Karl Marx address higher needs — that is, needs
describes this detachment as “alienation”. As beyond basic comforts — it is ultimate-
this labor process was divided into separate ly never-ending. Several studies have
tasks, laborers became estranged from the shown that, across many nations with an-
products of their labor, destroying the pride
nual incomes above $20,000, there is no

in craftsmanship and destroying the value of correlation between increased income
the artist. Alienation allowed commodities to and increased happiness. This consum-
be seen as fetish objects. A commodity’s use- erism mentality of working to buy the
fulness, or, in Marx’s terms, use-value, became status symbol may seem so integral to
increasingly subordinated to its exchange the culture we live in, that resisting it is
value, or social worth (generally its price or
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doomed to fail – commodities are every-

RE-SENSUALIZE
where.
monetary value). Advertising has assisted and ex-
ploited commodity fetishism by suggesting that As commodities lost any connection with
commodities have magical properties—that is, that objective value, they became fetishized. Advertis-
buying a product will increase the consumer’s so- ing plays a major role in creating a consumerist
cial status or attractiveness. As the commodity has society, as goods are marketed through various
become the central aspect of social life, areas that platforms in nearly all aspects of life, pushing the
were once outside of the economic sphere, such as message that the viewer’s life is in need of some
the family or religion, are recreated as commodities product. Consumerism is deeply integrated into
for sale in the market. Now that every aspect of so- the daily life and the visual culture of the societies
ciety, culture, communication and lifestyle has been in which we live, often in ways that we do not even
commoditized, are these objects of desire making recognize.
us happy?
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A PRIORI A PRIORI
D I S S AT I S F A C T I O N D I S S AT I S F A C T I O N
Psychological theories can also shed

light on why people sometimes consume
in unpredictable, even seemingly irrational
ways. It is no secret that sex is used to sell
everything from cars to soft drinks; however,
advertisements appeal more to a desire for a
DIS-
sense of belonging and self-esteem than to
a desire to relieve thirst. On an unconscious
level, people know that the link between ad-
vertising campaigns and what they actually
receive by buying the product is question-
able. But that doesn’t stop such campaigns
from being successful!
So why do we buy?
SATIS DISSATISFACTION
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Psychologists have noted that the

degree to which people perceive a need is
clearly related to two important factors: our
own past experience, and the experience
of groups to which we compare ourselves.
FACTION
These create reference points and reference
groups, in light of which people evaluate
their own well-being and state of need. Hu-
mans seem to be more tuned in to changes
in our perceived satisfaction than to the ab-
solute level of satisfaction we experience. We
take as our reference point, in judging what
we want and need, any situation to which we
have become accustomed. For this reason,
as marketers well know, to the extent that we
seek jolts of happiness, we can be continually
attracted by stimuli that promises us some-
thing more, new, or different.
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A PRIORI A PRIORI
O V E R - S T I M U L AT I O N O V E R - S T I M U L AT I O N
over- Digital habits have become

so ingrained in our daily behaviors be-
stimula-
cause they draw upon our craving for
dopamine, the natural pleasure endor-
phin. This hormone is usually released
following physical contact with another
tion
person, such as a hug, or after a posi-
tive verbal affirmation; however, we now
look for virtual affirmations such as so-
cial media ‘likes’, or digital human con-
nections such as emails resulting in the

In the 21st century there is an extreme same dopamine surges experienced
focus on technology and digitization of culture. after real physical human connections.
Much of the advertising is done in cohesive cam- Our body’s biochemical responses to
paigns through various mediums that make ig- technology have led many researchers
noring company messages nearly impossible. to believe that our ongoing desire for
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Consumers are often targeted based on their digital stimuli and our obsessive need
searches and bombarded with information about to repeatedly check our smartphones
more goods and services that they may eventual- is an indication of a cultural desire for
ly need, positioning themselves as a need rather more authentic human connection.
than a want. As the commodity has become the
central aspect of social life; what is the final stage
if we are never satisfied with the end result? Are
we just bored, and constantly thinking about the
next new item? “The problems arise from isolation of the
eye outside its nature interaction with
other sense modalities, and from the elim-
ination and suppression of other senses”
J U H A N I PA L L A S M A A
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R E - S E N T UA L I Z E R E - S E N T UA L I Z E
TREND PROPOSAL TREND PROPOSAL
RE-
WITH
SENSES
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RE-SENSUALIZE
RE-SENSUALIZE
CONNECT
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R E - S E N S UA L I Z E R E - S E N S UA L I Z E
EMPIRICISM EMPIRICISM
EMPIRICISM
The human process is grounded in our sensorial experience. Empir-
icists believe that “our knowledge of the external world replies that, when it
comes to the nature of the world beyond our own minds, experience is our
sole source of information.” Empiricism is a theory that states that knowl-
edge comes only or primarily from sensory experience. Empiricism empha-
sizes the role of empirical evidence in the formation of ideas, over the idea
of innate ideas or traditions; empiricists may argue however that traditions
(or customs) arise due to relations of previous sense experiences. The human
senses are the physiological capacity, which provide data perception. The
senses and their operation, classification, and theory are overlapping topics
studied by a variety of fields, most notably neuroscience, cognitive psycholo-
gy (or cognitive science), and philosophy of perception. The nervous system
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has a specific sensory nervous system, and a sense organ, dedicated to each
RE-SENSUALIZE
sense.
Other animals also have receptors
to sense the world around them, with de-
grees of capability varying greatly between
species. Humans have a comparatively
weak sense of smell and a stronger sense
of sight relative to many other mammals
while some animals may lack one or more
of the traditional five senses. Some animals
may also intake and interpret sensory stim-
uli in very different ways. Some species of
animals are able to sense the world in a
way that humans cannot, with some species
able to sense electrical and magnetic fields,
and detect water pressure and currents.
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I N FA N T I N FA N T
INFANT
As infants we experience the external world by our
sense perception and our need for genuine relationships
and experience of external world is how we shape identity.
At birth, infants possess functional sensory systems, vision
is structured, and audition (hearing(, olfaction (smell), and
touch are fairly mature. However, infants, lack perceptual
knowledge that is acquired from the external world experi-

ence. As the child’s senses mature they begin to coordinate
information obtained through multiple sensory modalities.
The process of coordination, known as intermodal percep-
tion begins early and improves throughout infancy.
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Basic visual functions are relatively immature, however,

they have do develop a contrast sensitivity, detecting luminance
differences between to adjacent areas such as stripes. The ability
of the newborn to distinguish face patterns before having actually
viewed the face is inherent.
The inner ear becomes fully developed in the womb, allowing
the fetus to have limited auditory experiences. As a result, the fe-
tus shows distinct responses to sounds of various intensities and
frequencies. They prefer the sound of their mothers voice rather
than another woman. Infants often exhibit preferences for speech
sounds over non-speech sounds; the former can help in attending
to signals in the environment necessary for language acquisition.
They are more sensitive to differences in sound frequen-
cy than to differences in sound intensity. Newborns also are sensi-
tive to prosody, the patterns of rhythm and intonation in speech,
and may use prosody to discriminate one language from another
- avoiding potential confusion.
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ARCHETYPE ARCHETYPE
ARCHE-
INNER
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CHILD
RE-SENSUALIZE
TYPE
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ARCHYTYPE ARCHYTYPE
INNER CHILD INNER CHILD
archetype
INNER CHILD
The inner-child archetype can be

seen to represent purity, optimism, and sim-
plicity. They have the power to change and
evolve easily perceiving the world through
their senses with innocence and creativity,
as they possess a heightened level of sen-
sitivity. Through their sensorial exploration
they are guided, always striving to be mor-
ally good and cultivating new discoveries of
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the external world.
RE-SENSUALIZE
This archetype possesses the curi-
osity, which develops into a self-confident,
strong and active individual that enjoys
uncovering the process of which the sens-
es interact. They are creators that appreci-
ate the value of the invention and seek out
the knowledge from the beginning to the
end. The power of their sensorial intellect
gives them the appreciation for what they
consume. They are loyal and value sharing
their acquired knowledge with others. The
inner-child has now become the teacher,
instructing followers by displaying the pro-
cess of exploration through the senses and
enticing others to ‘re-sensualize’ in order to
be human again.
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F U T U R E F I LT E R S F U T U R E F I LT E R S
FUTURE F I LT E R S
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TOUCH TOUCH
1
TOUCH
THE LANGUAGE OF
TACTILE EXPERIENCE
“Touch is the parent of our eyes,

ears, nose, and mouth. It is the sense which
became differentiated into the others, a fact
that seems to be recognized in the age-old
evaluation of touch as “the mother of the
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senses”, Ashley Montagu, Anthropologist.

RE-SENSUALIZE
In the age of technological dom-

inance, vision has become the dominant
sense. Other senses have been suppressed
by visuality. Such occurrence has detached
us from immediacy and direct physical con-
tact. “The language of touch”, is the trend
that we believe will be more dominant in
terms of bringing distant objects and peo-
ple into proximity, reality and existence.
Touch is often referred to as the mother of
the senses as it is the sense which became
differentiated into the others. Not only does
it function as a physical form of verification
but also a platform for understanding the
less coherent or conscious forms of touch.
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TOUCH TOUCH
“ Skin interface between the

opaque interiority of the body and
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exteriority of the world ”

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TOUCH TOUCH
| F U T U R E F I LT E R S
RE-SENSUALIZE
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R E - S E N S UA L I Z E
TOUCH
RE-SENSUALIZE
“The skin reads the texture,
weight, density and temperature
of matter.”
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TOUCH TOUCH
|F U T U R E F I LT E R S
RE-SENSUALIZE
GROUNDED
WEIGHTNESS
STRUCTURENESS
A S PAT I A L T H I C K N E S S
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TOUCH TOUCH
TA C T I L E M AT E R I A L I T Y
Touch is the sensory mode

which integrates our experiences
of the world and ourselves. The
RE-SENSUALIZE trend will embrace
a sensory intimacy by integrating
texture into products; bumpiness,
concreteness, slipperiness, crafti-
ness, that will create the sense of
appreciation.
RE-SENSUALIZE
The layered haptic will be

reinforced in all design fields in
order to recreate the sense of ex-
istential and reality. All in all, the
products will create an immediate “ ‘Tactile Value’, the work of authen-
and direct physical connection that
brings the customer accessibility
tic art stimulates our ideated sensa-
to the product. tions of touch, and this stimulation
is life-enhancing.”
BERNARD BERENSON
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TOUCH TOUCH
“ K A M I TA M A ” , K o s u k e Ts u m u r a f o r
“Awakening the senses” Exhibition, 2014
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“ H A P T I C L O G O ” , K E N YA H A R A ,
Graphic Designer
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RE-SENSUALIZE | F U T U R E F I LT E R S
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C O L O R PA L E T T E
TOUCH
TEAK
AUTUMN
DRY LEAF
PA L E B A E L E Y
ROCK
WIGHTY
TA N S A N D
B R E AT H
WARM
MUSK
WOODY
ROSE OAK
TOUCH
PANTONE PANTONE PANTONE PANTONE PANTONE PANTONE PANTONE PANTONE

19-1012 TCX 19-1241 TCX 18-1029 TCX 18-1415 TCX 18-1425 TCX 16-1327 TCX 13-1109 TCX 16-0806 TCX
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SOUND SOUND
2
SOUND
Sound is interactive, transporting

us to a time and space. Vibrations can move
us in unconscious ways, it can be emotion-
ally charged that creates a sense of con-
nectedness that measures space and makes
scale comprehensible. According to Juhani
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Pallasmaa in his an Architecture of the Sev-

RE-SENSUALIZE
en Senses, “the space traced by the ear

becomes a cavity sculpted in the interior of
the mind…. Every Building or space has its
characteristic sound of intimacy or monu-
mentality, rejection or invitation, hospitality
or hostility. Sight makes us solitary, whereas
hearing creates a sense of connection and
solidarity…”
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SOUND SOUND
“Sight isolates, whereas sound incorporates;

vision is directional, whereas sound creates an
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experience of interiority”
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SOUND SOUND
RELEVANT ARTIST
CHRISTINE SUN KIM
Berlin-based artist Christine Sun
Kim (b.1980, California), who has been
deaf since birth, explores the materiality of
sound in work that connects sound to draw-
ing, painting, and performance.
In the course of developing her
own visual language, Kim has explored as-
pects of graphic and musical notation, body
language and American Sign Language
(ASL), she uses these systems as a means to
expand what each is able to communicate
and to invent a grammar and structure for
her compositions.
Her performance work is central to her practice, and

often provides a starting point for works on paper that display
witty suggestions of sound notes. Employing a wide variety of
props, transducers, and audio speakers, to piano wires, helium
balloons, and even her own breath, a whole range of sounds,
vibrations and frequencies come into play. She is persistently
questioning what she calls “the ownership of sound” and high-
lighting the parameters, social values and sets of rules based
around that which is constantly present and yet invisible to us
all. Kim believes “rather than seeking approval for making what
are generally perceived to be correct sounds, I produce and
translate sounds based on my own perception. My desire to le-
gitimate my perceptions drives my interests in linguistic author-
ity, the process of translation, and the deconstruction of precon-
ceived ideas about sound.”
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SOUND
RE-SENSUALIZE
“The sound measures space and
makes its scale comprehensible. We
stroke the boundaries of the space
with our ears.”
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SOUND
SOUND
OSMOSIS
REFLECTION
W AT E R
GOLD
AFTERNOON
CLOUDS
L AY E R E D
WARMTH
CASHMERE
COZY BREEZE
L AVA N D A
MURKEY
SOUND

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SMELL SMELL
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SMELL
THE INVISIBLE SENSE
Scent is an invisible and intangi-

ble element and yet it is the most powerful
sense. Odor can bring back your memories
without any visualities. People can re-enter
a place just by smelling. When there is a first
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smell, the brain immediately links the scent

RE-SENSUALIZE
to a moment, event or person. The memory

or thought is then linked to the smell. Cer-
tain odors can serve as strong reminders of
past experience. With your initial encoun-
ter, you begin forming nerve connections
that intertwine the smell with emotions. The
capacities for both smell and emotion are
rooted in the same network of brain struc-
tures, the limbic system.
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SMELL SMELL
“A particular smell makes us unknow-

ingly re-enter a space completely forgot-
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ten by the retinal memory”

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SMELL SMELL
For the last five years, there

are designers who explore the
sense of scent. One of which is
THE
SCULPTING
Zuza Mengham who translat-
ed scents into shapes, colors
and texture. She was invited
by the British fragrance house,
Laboratory Perfumes, where
she had to create the sculp-
SCENT
ture by smelling five signa-
ture fragrance; Amber, Gorse,
Samphire, Tonka and Atlas.
RE-SENSUALIZE

As smell is one of the
senses that seems neglected
when it comes to interpreting into
language, it would be impossible
to make a fixed representation of
a fragrance, but that is the reason
why she thinks it is interesting to
make an experiment. Fragrance
fits into the categories of known
and unknown, and then there’s a
whole catalogue of various narra-
tives and nostalgias which are at-
tached for any individual.
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SMELL SMELL
RE-SENSUALIZE
“the aim of this project is to highlight the

strength of olfactory memory by creating
one’s own ‘madeleine de proust’.”
C H A R L I N E R O N Z O N - J A R I C O T, P E R F U M E R
“Enclosed are colors. Invisible colors revealed only by the nose”

ANTONIO CARDILLO, ARCHITECT
The combination of scent and texture in a

fragrance store, Illuminum store, London
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SMELL SMELL
Emily Crane is a new breed of

designer who is pushing the boundaries
of design through materials and process
by growing, cultivating and forming new
As the scent is a platform
hybrid materials for the future. Borrow-
that can bring you back to the cer-
ing skills from molecular cooking, she is
tain space, there are Artists, De-
envisioning a future where jewelry can be
both wearable and carry a scent.
Her work with “bio lace” is a sen-
EMILY signers and Perfumers who tried to
re-create different types of smells,
provoking the one who perceived
CRANE
sory world of transient fashion moving
it. The integration between scent
beyond beauty to a more inclusive senso-
and experience has been articu-
rial experience. Through unique process
lated for the past five years. For
of developing new materials that can be
example, the Mickaël Wiesengrün
seen and smelt (as well as felt) as a key
“Révélateur” installation, which
factor informing the process of the hu-
aims to evoke the previous use of
man.
its location using smells of sweat,
grease and metal waft that would
“I wanted to do this
to contextualise the
have been present there.
present with the

past, it’s a bit of nod
to the past to under-
| RE-SENSUALIZE
stand why we are
here.”
MICKAEL WIESENGRUN
Fashion is no longer a thing of simple beauty,

Crane’s “Helium Scent” project (in conjunc-
tion with Givaudan) aims to create a mul-
ti-sensory experience. Helium Scent grew to
“It is the smell of hard work;
be a new form of transport for scent and a
of the hard workers who built
way exploring ‘the constant new’ by ‘weav-
this place and who are indi-
ing’ scent into “bio-lace” by means of helium.
rectly why we’re stood here
The scent allows the brain to trick the mind
today,” said Wiesengrün. “It
when the delicate lace structure is placed on
is very important for visitors to
the body and melts. Leaving behind the im-
the exhibition to understand
material material. Scent.
about back then.”
Emily Crane graduated with an MA
from Kingston University, following from a BA
(Hons) at Bath Spa University. She lives and
70 works in London. 71
SMELL SMELL
SCENT INGREDIENTS
Perfume plays an impor-

tant part in the industry. People can
be recognized by their perfume
before their presence. No matter
what the fragrance is, scents and
memory are powerfully linked.
RE-SENSUALIZE
The natural ingredients

that are often used in the manu-
facture of perfumes are flowers,
grasses, spices, fruit, wood, roots,
resins, balsams, leaves, gums, and
animal secretions—as well as re-
sources like alcohol, petrochemi-
cals, coal, and coal tars.
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SMELL SMELL
RE-SENSUALIZE
“The nose makes the eyes remember”

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SMELL
SMELL
GLOOM
SUNLESS
BLUE
N O S TA L G I C
GOLD
CITRUS
GALBANUM
DARK
WOOD
MOSSY
ORCHID
MYSTIQUE
RUSTY PINK
BRONZE
VA P O U R
SMELL
PANTONE PANTONE
PANTONE PANTONE PANTONE PANTONE PANTONE PANTONE

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NAIVETE NAIVETE
4
NAIVETE INNOCENT
From the beginning, as infants we
explore and enjoy this journey of explora-
tion and creativity. This method of develop-
ing our identity through our sensorial per-
ceptions is what shapes our external world.
|
The inner-child plays an important role
RE-SENSUALIZE
in defining the evolution of the consumer
within the next five years. We are seeing a
trend now toward to the virtual reality world;
however, there will be a counter trend to-
ward the sensorial knowledge. This trend is
what we believe will have purchasing power
in the long-term because it not only uses
the visual (that is instantly gratifying) but it
will connect with the customer emotional-
ly, psychically and nostalgically through a
sensorial experience (which connects to the
body).
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NAIVETE NAIVETE
RE-SENSUALIZE
“So anything that is using the sense is going
to keep them grounded in their body and that
would help them to relieve anxiety.”
J A M I E PA N U C C I O ,
C o m p l e x Tr a u m a P s y c h o l o g i s t
(see interview in appendix)
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NAIVETE NAIVETE
RE-SENSUALIZE
U LT I M AT E
GRADIENT
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84
NAIVETE
85
NAIVETE NAIVETE
EXPOSE
EXPLORATION
According to the aforementioned

research the vision tends to detach from
the body whereas the other senses unite
us within the world and connects the indi-
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vidual to the psychical body. We believe

RE-SENSUALIZE
these child-like qualities in sensory explo-

ration will bring about a strong, confident
individual that will empower decision, as
well as motivate the consumer for further
discovery. There will be an inherent action
for curiosity; the innocence in examination
through the senses with a focus on: touch,
smell, sound and taste will attach the indi-
vidual to the human experience. This innate
sensorial inner-child will be the dominant
future consumer that will prefer to use these
sense filters as their purchasing power.
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NAIVETE NAIVETE
RE-SENSUALIZE
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NAIVETE NAIVETE
RE-SENSUALIZE
RELEVANT ARTIST
BARBARA KASTEN
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NAIVETE
NAIVETE
PURPLE
P L A Y- D O U G H
POWDER
L AV E N D A R
MARIGOLD
CURIOUS
LEGO
STRAWBERRY
BUBBLEROON
PINK
GUMMY GREEN
BLUE
BALLOON
BLUE
STREET CHALK
NAIVETE

93
94 95
A P P L I C AT I O N A P P L I C AT I O N
ELLERY ELLERY
TREND
RE-SENSUALIZE FOR AW 21-22
ELLERY
FOR AUTUMN WINTER 21-22
APLICA
TION
96 97
A P P L I C AT I O N
ELLERY
ELLERY
AUTUMN WINTER 21-22
The exploration into the Ellery

mood for AW 21-22 focused on the
contrast of shapes, colour, smell and
feel in relation to the materials, shapes,
textures and the overall sense of play-
fulness. There was a strong connection
to the projected sense stimuli for the
brand as ELLERY has a built the foun-
dation of the brand on exploration.
She focuses on the innovation in new
materials that sets her apart as a cou-
ture designer; therefore, the materials
and inspiration we have provided can
be utilized within the next five years for
development.
98 99
E L L E RY E L L E RY
MOODBOARD MOODBOARD
MOODBOARD
100 101
ELLERY ELLERY
ICONIC
PRODUCT
The iconic product that embodies
the ELLERY brand can be seen in the jewel-
ry collection. Earrings, bracelets and neck-

laces have a specific presence on the body,
feeling the weight, temperature and even
sound of the material has a way of stimu-
lating our senses on all levels.
Earrings have a weight, sound, and texture that can

evoke sensation. The metal materials can produce sound, the
weight give the wearer the feeling of being grounded and the
awareness of movement. A necklace can be soft and delicate
or chunky and textured depending on the material the object
can provide the wearer with the feeling of protection, power
and the tactility of calm. Bracelets are visually perceived by
the senses instantly; the wearer also has the sensorial move-
ment of the piece on the wrist. Moreover, the bracelet can
vary in sound based on the material used and the amount
of bracelets worn. All of the evidence of sense perception
encapsulates the concept of the sensorial experience; it can
also be argued that in order to wear such jewelry the wear-
er must be playful, curious and explorative in displaying the
pieces on the body as the ELLERY collection is one that rep-
resents a creative, childlike quality.
102 103
ELLERY ELLERY
104 105
ELLERY
SHAPES

Creativity will be fundamental to
personal and commercial development,
in the interest of retaining a human touch
and driving unique design directions and
original innovations. The exploration into
shape encourages a childlike sensibility,
filled with energy and positivity. The selec-
tion draws on a hopeful and spontaneous
innocence with powerful, hyper-contrast-
ing organic rough shapes that revisit basic
shape theories.
106 107
ELLERY ELLERY
DETAILS

108 109
ELLERY
DETAILS
As we become aware of our sensations, we
seek opportunities to reflect and reconnect with our
emotions and basic need to touch, smell and hear. The
details cultivate these wistful sentiments with playful
materials that connect with people based on felt sense
they evoke. Fringed ropes can be touched, either
through the tactile nature; the visual felt sense or even
the sound.
110 111
E L L E RY E L L E RY
BUSINESS MODEL BUSINESS MODEL
INNER-CHILD

ELLERY
STIMULUS RE-SENSUALIZE
112 113
E L L E RY
V I S I O N . M I S S I O N . VA L U E S
VISION
Sensorial experience as our sole source of information.
MISSION
To d e t a c h f r o m t h e o b j e c t i f i c a t i o n o f t h e p r o d u c t , i n o r d e r
to reconnect with the inner self.
VA L U E S
Central: TRUE-BEING
Expressive: RE-CONNECT WITH SENSE
Instrument: IMPETUS
114 115
BIBLIOGRAPHY BIBLIOGRAPHY
Pallasmaa, Juhani: The Eye of the Skin. Architecture and the Sens-
es (Chichester: John Wiley and Sons 2005).
Marinkova, M., 2011. Michael Ondaatje: Haptic Aesthetics and Mic-

r o p o l i t i c a l W r i t i n g . To r o n t o : C o n t i n u u m .
P a t e r s o n , M . , 2 0 0 7 . T h e S e n s e s o f To u c h : H a p t i c s , A f f e c t s a n d
Te c h n o l o g i e s . N e w Yo r k : B e r g .
Juhani Pallasmaa, “An Architecture of the Seven Senses,” in a+u Architec-

ture and Urbanism: Questions of Perception, ed. Steven Holl, Juhani Pal-
l a s m a a , a n d A l b e r t o P e r e z - G o m e z ( To k y o : a + u P u b l i s h i n g C o . , 1 9 9 4 ) .
B a b i e s a n d T h e i r S e n s e s : w w w. z e ro t o t h re e . o rg
Erica Iris Bruso, “A Feast to My Eyes: Color and Human Behavior”

(2012). Honors Theses. 23. http://digitalcommons.andrews.edu/honors/23
Faber Birren, “Color Perception in Art: Beyond the Eye into the
B r a i n . ” L e o n a r d o 9 , n o . 2 ( 1 9 7 6 ) : 1 0 5 - 1 1 0 . h t t p : / / w w w . j s t o r. o r g / s t a -
ble/1573116.
E v a P e r e z d e V e g a , “ E X P E R I E N C I N G B U I LT S P A C E : A F F E C T A N D
M O V E M E N T ” N e w S c h o o l U n i v e r s i t y, U S A .
BIBLIOGRAPHY D A N I E L G O L E M A N , “ T h e E x p e r i e n c e o f To u c h : R e s e a r c h P o i n t s t o a
Critical Role”, February 2, 1988.
Karl Marx, “THE FETISHISM OF COMMODITIES AND THE SECRET

T H E R E O F ” , C a p i t a l V o l u m e O n e , P a r t I : C o m m o d i t i e s a n d M o n e y.
V i n a y a , “ D i g i t a l O v e r s t i m u l a t i o n A n d S t r e s s ” , V i n a y a Te c h n o l o g i e s
L t d .   , 2 0 1 6 . w w w. v i n a y a . c o m / b l o g
Amitai Etzioni, “The Crisis of American Consumerism”, The Huff-

Post, The US edition, Nov 04, 2012
w w w. h a n d s o n o t re h a b . c o m : “ W h a t S c re e n T i m e D o e s t o B a b i e s ’ a n d
C h i l d r e n ’s B r a i n s a n d S e n s o r y P r o c e s s i n g A b i l i t i e s ” , M a r c h 2 8 , 2 0 1 7 .
A l i c e S t e r l i n g H o n i g , “ I n f a n t s & To d d l e r s : T h e P o w e r o f S e n s o r y E x -
periences”
N i c o l a Tw i l l e y, “ S e e i n g w i t h y o u r To n g u e ” , T h e N e w Yo r k T i m e s , M a y
15, 2017
Manuel DeLanda, “Intensive Science & Virtual Philosophy”. New

Yo r k : C o n t i n u u m , 2 0 0 2
Erwin Straus, “The Primary World of Senses: a Vindication of Sensory Ex

perience”. 1935.
116 117
APPENDIX APPENDIX
PRIMARY RESEARCH
INTERVIEW WITH JAMIE PANUCCIO, COMPLEX TRAUMA PSYCHOLOGIST
FAREN: “or maybe just start by giving me a background about you and how you got into play therapy what play
therapy is, and how this is going to help your clients.”
JAMIE:
I was working as a psychologist for people with disabilities. I was working for the government in the disabilities
department. The work I was doing was mainly writing support plans, and in that work we didn’t do any counseling,
really, it was hardly in one on one. We did sort of one-on-one time observing and getting to know clients but we
didn’t do any counseling and than all the department decided to run a pilot program using a play therapy. Six were
going to be selected to do the program and I was one of the six, so we were trained in play therapy and than we
had to complete 100 hours of one-on-one play therapy with clients.
So what play therapy is: it’s using a combination of different mediums. So you have art, music, storytelling, dress-
ups box, clay, sand play and dance movement. Basically, what you do is you set up the room with all these things all
around the room. There is a table of art, paint, craft stuff and whatever....and than you have you’re your sand trays
and a table with clay, and then you got musical instruments around, and than you got a dress-up box and musical
activities.
The type of therapy I was trained to is non-directive therapy and what that means is that the client leads the ther-
apy. Play therapy is with children so from age 3 to 17, so they come into the room and they do whatever they want
basically. And your role as the therapist is to reflect back what they are doing with insight to help them progress.
So the idea is that the play out their issues through play and you are there to support them to do that. And is a
non-talking therapy so if they want to talk absolutely you can talk but you certainly don’t make them talk. You don’t
rise any issues with them you don’t have a plan with their problems – or ways to work it out. They do everything in
the room. As the therapist what you are working on is on your relationship with the child. So developing yourself to
APPENDIX
be trustworthy, to be warm, to be open, to receive whatever they put out and to let them know that they’re safe –
that they are supported no matter what.
So play therapy is based on – so it originated in psychoanalysis and then it was developed. So it started on the
psychoanalytic world and it developed into psychodynamic and than in (?) and now it became a combination of
all this different types of therapy, which a lot of people tent to practice these days anyway. So is called integrative
therapy, which is where you draw from specific therapies to kind of create whatever you need for the client that you
are working with. So the kid would come into the room and it really depends on the child so…when I was first doing
it, I only worked with kids with disabilities so my most interesting and intense and amazing and wonderful client was
this 16 old boy who hadn’t eaten anything for 3 years. So he had autism, and one day he just stopped eating and
drinking so obviously he became very sick……
SKIP TO TIME – 18.50
FAREN: That’s really beautiful! So by the end of it did he end up using any of the play therapy or he would just
stand there and meditate with you?
JAMIE: He did once. So in his like session 46, or something, and we are standing there as normal. And than out of
the blue he walks toward a water bottle and I nearly had a heart attack. I was like what is happening? And I went
over to the sand tray and he started spraying the water bottle into the send tray and he spray and spray and spray
and he ended up flooding the sand tray. So we did some research into symbolism and stuff and the closest thing I
got to understand it was a way to express sadness, almost like crying without crying and that was it. That’s all he did.
It was really cool.
118 119
APPENDIX APPENDIX
FAREN: PRIMARY RESEARCH

So is there any other like I guess clients that stand out in your mind that use lot of their senses to I guess commu-
Survey Conduction
nicate…
The aim of the survey is to gather the general perception from people today in regards of the word
JAMIE: Well, it’s funny because people with disabilities…you talk about senses more, you tend not to, you tend “senses” and how senses can be a possible factor for purchasing power.
to have to go back with people who don’t have a disability because people who don’t have a disability tend to be The survey conducted via Surveymonkey.com
more in their head. So they tend to want to solve problems with words and the brain is not formed that way. You
have your emotions going on in your brain; you have your physical sensations that you need to address. So you
can’t just solve…so, I talk about this all the time.
I have this gifted kid who is just incredible and she is 9 years old and she want just to sit and talk which is so un-
usual for a child, they normally wanna play. But she is trying her hardest to understand why things get her down.
And it’s basically like just crude summaries because she is a perfectionist and she gets bummed out easy because
things aren’t perfect. So I use to do this with adults, it just happens to do this with her because she is gifted child
and she is super bright and she can understand, but I do this with adults and that is to say: I know you wan a
solution to your problem but you have to let your body feel your feelings and you have to start paying attention
to what’s happening to you heart and what happening to you breathing?… and are you feeling hot?…are you
slowing down?…what is happening in your body?…you have to start getting to know that because you are not
going to feel alive if you are not aware of your body.
So the way of new science is developing is becoming more popular and more widely mind and is now informing
therapy. So what we know about the brain is thata you have differents part of the brain. So you have got the
brain (?), the limbic system the..(?)..and than the cortes and we know that the thinking part happen in the cortecs
and the emotions happen in the limbic system and the physical stuff is happen in the brain (?) …so we know when
a person is having differents experiences the brain produce chemical and what we try to do is to encourage the
brain to produce the right kind of chemical so that they end up feeling better. So you sad he sens of smell…that is Bar chart #1 (above)
an interesting one because smell can trigger negative feelings and trauma and that kind of thing.
According to bar chart #1, the result has met the expectation that sight is the most dominant senses. The
What you do in therapist is find out what they do like and than encourage them to take that. So anything that is second and third dominant senses are almost equal result, touch and smell. Hearing is the forth and the last one is
using the sense is going to keep them grounded in their body and that would help them to relieve anxiety. taste. As the result, there is potential for a trend towards tactility and scent which parallels well to “Re-sensualize”.
So we have this kid that would get really upset by the smell of play-dough and he was just almost getting angry.
And I ask him, what kinds of smell do you like? And he said: I don’t know…and than he said: I saw a air-freshener
which was really weird because it was placed in this old spot that I couldn’t even notice that…?...anyway he went
and found this air-freshener and sprayed it all around so that he could stop freaking out and he could have a
different smell in his nose. So that was kind of cool he did that kind of himself. When people are flipping up we
want them to be mindful and what we may do is to get them to go trough their senses: what can you see right
now? What can you hear right now? What can you taste? So I think I have done that with every single client I had
with disability or not. It’s a really good mindful activity, its grounds you, it keeps you back in your body and that
helpful because that’s will regulate you. And that’s something that everyone need to learn how to regulate oneself
because that’s what it make you calm down and than they can feel all right.
People tend to be able to figure things out by themselves.

There is this lady, is 63 she had a lot of anxiety she is going into disabilities. So there is no point in try to (?) her
problems, specially because how things…?... there is thing where you can do a talk down which is talking about
and than changing all the physical reaction or you can do it (?) which is changing your physical reaction and than
working on what is going on in your head and for her is just so much easier to do it with the body. So we would
list things what would happen when she has worries and she was so inside full she knew exactly what the her head
was doing, what her breathing was doing, exactly what happen next to her. I s like if you ask the right question
people have the answer. So part of your skill in been a psychologist is not figuring out shit to people, is just know-
ing what to ask them. People figurate that oneself down and that how it should be. Bar chart #2 (above)
According to bar chart #2, visuality plays the vital role in purchasing power.Touch is the second dominant
sense that people aware of when they make a decision. However, it is still in a low level of awareness in term of
making decision of purchasing.
120 121
APPENDIX APPENDIX
Bar chart #3 (above) Bar chart #4 (above)
According to bar chart#3, unsurprisingly, sight is the sense that people perceived the most when they According to bar chart# 4, it can be clearly seen that most of the respondents are always aware of using
entered a store. Interestedly, the second sense is smell which is perceived more than touching. There is no percep- sight in the store. When it comes to the sense of touch the majority of respondents are often aware of how the
tion towards hearing and tasting in the store. product feelings. Smell and Taste are the senses that the participants are sometime having knowledge of using and
rarely aware of hearing when purchasing.
Nonetheless, for the question of “in your own words, how would you describe the word “SENSE”, the
respondents’ have well understood the true meaning of the word. Per below are the example of answers.
Body Perception
Touching
Knowing
Adventure
Unpredictable, surprise, influential
Feeling
Preference
Decision maker
122 123
IMAGE CREDITS IMAGE CREDITS
Original Image “Distortion”, 2010 Monster Image Monster Image “ K A M I TA M A ” , 2 0 1 4 “HAPTIC LOGO”
by Faren and Chayanit b y Yo s h i S o d e o k a by Faren and Chayanit by Faren and Chayanit b y K o s u k e Ts u m u r a f o r b y K E N YA H A R A
“Awakening the senses”
Exhibition
Monster Image Photograph “Série le Grand Est”, 2016- “ Vo l u m e o f L i g h t ” Photograph “Backwynd”,2015 “Force Majeure”,2015-2017 “Force Majeure”,2015-2017
by Faren and Chayanit by Li Hui 2017 by Julia Stoltz and by Thomas Brown by Li Hui By David Armin Avazzadeh By David Armin Avazzadeh By David Armin Avazzadeh
Vincent Girardot and Shirin Omran
“ U n s p e i f i c Te x t i l e I n t e r v e n - UNKNOWN “ U n s p e i f i c Te x t i l e I n t e r v e n - Va s e “Echoes”, photography “Force Majeure”,2015-2017 UNKNOWN “Sculpting Scent”

tion”, 2015 By David Armin tion”, 2015 By David Armin by Hanna Hansdotter b y S a i d a Va l e n z u e l a By David Armin Avazzadeh By Zuza Mengham
Avazzadeh and Shirin Omran Avazzadeh and Shirin Omran
“HILO”, 2014 Magma Collection “Catalano” bench “Catalano” bench “Sculpting Scent” “Sculpting Scent” Perfume “Sculpting Scent”
By Marre Moerel By Ferréol Babin By Antoni Gaudi By Antoni Gaudi By Zuza Mengham By Zuza Mengham By Charline Ronzon-Jaricot By Zuza Mengham
124 125
“Sculpting Scent” “Helium Scent” “Révélateur” installation Original Image For RIPOSTE MAGAZINE “Balloon Geometry” “ Tr o p h y - A w a r d s W e L i v e
Set Design
By Zuza Mengham By Emily Crane By Mickaël Wiesengrün by Faren and Chayanit | ISSUE 4 By Sarah Parker By Catherine Losin and With”,2013
By Sarah Parker
collaborated with photogra- Gemma Tickle B y E l i s a We r b l e r
pher Catherine
“Beautiful Decay” “Beautiful Decay” Original Image Photography Set Design C h a i r, 1 9 7 9 Product photography Set Design
By Billy Kidd By Billy Kidd by Faren and Chayanit By Pauline Caranton by Katie Fotis By Garry Knox Bennett By Carl Kleiner by Katie Fotis
A sulcus of the parietal Photography Photography Original Image Art work Art work Art work Art work
cortex By Greg A.Dunn B y Te t s u y a M a e h a r a By Will and Joan by Faren and Chayanit By Barbara Kasten By Barbara Kasten By Barbara Kasten By Barbara Kasten
Styling Styling
By Nobuyuki Ida By Angelique Lancelle
For Metal Magazine For Metal Magazine
Photography Photography For RIPOSTE MAGAZINE Photography Photography “Balloon Geometry” “Cream”, photography Original Image
By Julia et Vincent By Julia et Vincent | ISSUE 4 By Sarah Parker By Pippa Drummond By Pippa Drummond By Catherine Losin and By Olivier Placet by Faren and Chayanit
collaborated with photogra- Gemma Tickle
pher Catherine
126 127
UNKNOWN “Anxious Anticipation” “Anxious Anticipation” “Rocks and Light” Jewelry “ N O T Y O U R AV E R A G E By Oleksandra Gerasymchuk “ B i g B e a v e r ” , a r m c h a i r, 1 9 8 7
By Kyle Bean By Kyle Bean By Anders Brasch-Willumsen By Oleksandra Gerasymchuk BEAUTY” By Frank Gehry
B y J o a n n e Ta n
Photograph “Still Life” UNKNOWN “Rocks and Light” Jewelry “Third Law” Photography “Force Majeure”,2015-2017
by Li Hui By Gustav Almestål By Anders Brasch-Willumsen By Annelise Michelson By Thomas Brown By David Armin Avazzadeh
Monster Image E L L E RY P R E - FA L L 2 0 1 7 E L L E RY FA L L 2 0 1 7 ELLERY RESORT 2017

by Faren and Chayanit
E L L E RY FA L L 2 0 1 7 Loop with Benzoin Incense, “Broken Shape” “ N O T Y O U R AV E R A G E

2017. B y N o b e l Tr u o n g BEAUTY”
By Evan Holloway B y J o a n n e Ta n
128 129
130 131
F A R E N TA M I
faren.design@gmail.com
C H A Y A N I T K U N T H AT I M
kunthatim.c@gmail.com
132

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1

The 21st century technology era

to feel we have arrived at where we were always of reality.

Since the industrial revolution in

While previously the norm

the availability of consumer goods, with a smaller expenditure of hu-

nual incomes above $20,000, there is no

doomed to fail – commodities are every-

Psychological theories can also shed

Psychologists have noted that the

over- Digital habits have become

nections such as emails resulting in the

knowledge that is acquired from the external world experi-

Basic visual functions are relatively immature, however,

The inner-child archetype can be

“Touch is the parent of our eyes,

senses”, Ashley Montagu, Anthropologist.

In the age of technological dom-

“ Skin interface between the

exteriority of the world ”

Touch is the sensory mode

The layered haptic will be

PANTONE PANTONE PANTONE PANTONE PANTONE PANTONE PANTONE PANTONE

Sound is interactive, transporting

Pallasmaa in his an Architecture of the Sev-

en Senses, “the space traced by the ear

“Sight isolates, whereas sound incorporates;

Her performance work is central to her practice, and

PANTONE PANTONE PANTONE PANTONE PANTONE PANTONE PANTONE PANTONE

Scent is an invisible and intangi-

smell, the brain immediately links the scent

to a moment, event or person. The memory

“A particular smell makes us unknow-

ten by the retinal memory”

For the last five years, there

“the aim of this project is to highlight the

“Enclosed are colors. Invisible colors revealed only by the nose”

The combination of scent and texture in a

Emily Crane is a new breed of

present with the

Fashion is no longer a thing of simple beauty,

Perfume plays an impor-

The natural ingredients

“The nose makes the eyes remember”

PANTONE PANTONE PANTONE PANTONE PANTONE PANTONE

According to the aforementioned

vidual to the psychical body. We believe

these child-like qualities in sensory explo-

PANTONE PANTONE PANTONE PANTONE PANTONE PANTONE PANTONE PANTONE

The exploration into the Ellery

RE-SENSUALIZE FOR AW 21-22

Earrings have a weight, sound, and texture that can

RE-SENSUALIZE FOR AW 21-22

RE-SENSUALIZE FOR AW 21-22

RE-SENSUALIZE FOR AW 21-22

Marinkova, M., 2011. Michael Ondaatje: Haptic Aesthetics and Mic-

Juhani Pallasmaa, “An Architecture of the Seven Senses,” in a+u Architec-

Erica Iris Bruso, “A Feast to My Eyes: Color and Human Behavior”

Karl Marx, “THE FETISHISM OF COMMODITIES AND THE SECRET

Amitai Etzioni, “The Crisis of American Consumerism”, The Huff-

Manuel DeLanda, “Intensive Science & Virtual Philosophy”. New

Erwin Straus, “The Primary World of Senses: a Vindication of Sensory Ex

SKIP TO TIME – 18.50