Film media have become an essential part of the symbolic production of fashion, not least because of the emergence of Internet. Fashion film uses storytelling in a way that the audience comes to experience the garments in combination with the film. The film experience then influences viewers' eventual experience of wearing the garment. Fiction enables fashion and fashion becomes fiction. At the same time, there is an emerging interest within computer science, such as human-computer interaction (HCI), in designing fashion-related, digital services and wearable technologies, which are also termed "digital fashion". Such technology has the potential to offer new products that are worn as garments. A digital garment shares the focus on visual appearance with traditional clothing fashion, but differs from the latter because it can change its visual expression. In developing and studying such technology, we need to understand both what constitutes fashion in a broad sense, and how to communicate these new design concepts to intended users. Both challenges motivate the production of a film on fashionable wearables. We therefore need to unpack in detail how to make such a film, as well as how to address the differences between the "functions" of fabric and of digital technology.

This thesis conceptualises, investigates, and reflects on the moving image design space in Human-Computer Interaction (HCI). Motivated by the increasing number of videos, films, and animations produced in the field, the thesis recognizes moving image making as a designerly way of inquiry across research and practice, and argues for the importance of moving image as a research topic in interaction design. 

The first contribution of this thesis is the conceptualization of the moving image design space. The growing body of moving images, varying in forms and purposes, can be held together to establish a foundation of knowledge that informs and generates new research and practice. We identify four collections of existing works and their different roles, namely moving image as design technique, design element, design exhibit, and design promotion. The second contribution is the manifestation of moving image making through concrete design studies. These exemplars empirically demonstrate how they investigate, enrich, and challenge the four established collections, and ultimately expand the moving image design space. 

These contributions not only provide new knowledge on moving images for better understanding their various roles in interaction design and making works that respond to emerging design opportunities, but also foreground the discussion on the mediation aspect of moving image in HCI.

This video presents a design fiction in the form of a fashion film. It intends to mediate a design concept for a smartwatch that can change its colors and patterns to fit in the wearer's dress ensemble, which has been reported previously [1]. We see an increased interest in HCI to design fashionable wearables. However, visually appealing designs are not necessarily considered fashionable. We are motivated by the fundamental role of fashion media in transforming clothing items into fashionable garments. Fashion film, as one of the most important fashion media in the industry today, has the potential to represent wearable design concepts and to speak to a fashion-oriented audience within and beyond HCI.

This paper presents a design workshop that explores the future of fashionable wearable technology focusing on aesthetics. The results of the workshop include four fashion design concepts and the implications emerged from the discussions on each concept during the workshop. These implications open up new design space of technologies and materials that account for aesthetics beyond traditional fabric, i.e. transparency, scale, irregularity, movement, contextual expressions and fashion intelligence.

With the advent of wearable devices equipped with publicly visible screens, we argue for the need to apply fashion thinking in designing their visual expression. The screen provides endless variations of visual expression, beyond traditional clothing. The topic motivates us to investigate the potential of assembling “fashion thinking” with services generation, to create new forms of use that wearers will adore, as they do with clothes. Disregarding fashion thinking in wearable design might lead to user dissatisfaction and missed opportunities. In an explorative design study we triangulate three methods i.e. a small study on the use of smart watches in dressing practices; an invention and design of a service called “Watch for Figuracy”, with a watch face contextually dependent on the wearer’s dressed ensemble, and finally an initial user feedback study. Altogether they indicate the potential of fashion wearable hybrids and shortcomings in utilizing color theory for matching the watch face to the outfit.

We inquire into ways of understanding plant interaction through a triangulation of four approaches: a multispecies ethnography of people's ordinary practices and doings in relation to sakura trees during their short blossoming season; readings of theoretical works on human-plant relations and plants' urge to spread; a systematic review of how plants are involved in computing and computer systems; and finally a review study on how cherry blossoms are used in design and architecture. We bring these together and propose to discuss the involvement of florae in computer systems and design items through the lens of understanding plant interaction as temporally extended dissemination and agency to spread. The design intent within Animal-Computer Interaction (ACI) has been to develop systems where non-human species are seen as "users". If such an approach is applied to plants, then we need to frame research in a direction that aims to give us an understanding of what these sorts of users are doing. Since the most successful forms of dissemination are hedonic, we argue that researchers should focus more specifically on system design that supports aesthetic interaction, rather than supporting abstract contemplation, as has been common within Human-Computer Interaction (HCI).

This paper is an introduction to the “Future IKEA Catalogue”, enclosed here as an example of a design fiction produced from a long standing industrial-academic collaboration. We introduce the catalogue here by discussing some of our experiences using design fictionwith companies and public sector bodies, giving some background to the catalogue and the collaboration which produced it.

Liveness, as discussed in HCI and in media studies, focuses on an intriguing and beloved experiential quality that can influence new forms of video applications. We suggest a shift from accounts of liveness in "events" to liveness in ambient media for home décor by designing a system called TransLive that exploits the "magic" of mediatizing the "now" at a distant and cherished place. We present an interview study including four families, who experienced the system for two weeks each in a concept apartment setting. It shows how immediacy and unpredictability provide compelling experiences. Authenticity and engagement, which are previously considered as inherent qualities in live media, instead occur in the context of use. Finally, the experience of transcendence triggered by slow and continuous video streams open up a new design space of liveness. Thus, not only do we take inspiration from liveness theory, but we also need to redefine it.