The connections between textiles, fashion, and the constructed environment are both deep and significant, and there is much scholarship attesting to the natural and necessary overlaps between these two fields of design. Gottfried Semper asserted in the nineteenth century that the earliest examples of enclosed space were derived directly from textiles and textile techniques (Houze 2006). More recently, Penny Sparke established the numerous parallel practices of fashion’s haute couture and the profession of interior design, as they existed at the turn of the twentieth century. (Sparke 2008) Similarly, Lois Weinthal has elucidated the shared aspects of textiles and interior design, starting with the metaphor, “skin and bones” (Weinthal 2016). The making of all textiles, whether pre-historic or very recent, is predicated on the development of technologies. These technologies often reach far beyond the realm of fashion and the making of textiles. For example, the French weaver Joseph Maria Jacquard’s 1801 jacquard loom, capable of producing its patterns via wooden punch cards, inspired the English mathematicians Ada Lovelace and Charles Babbage to create

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Manus x Machina：科技时代的时尚

纺织品、时尚和建筑环境之间的联系既深刻又重要，并且有很多学术研究证明这两个设计领域之间存在自然和必要的重叠。Gottfried Semper 在 19 世纪断言，封闭空间的最早例子直接来自纺织品和纺织技术（Houze 2006）。最近，Penny Sparke 建立了时尚高级时装和室内设计专业的众多平行实践，因为它们存在于 20 世纪之交。（Sparke 2008）同样，Lois Weinthal 从“皮肤和骨骼”这个比喻开始，阐明了纺织品和室内设计的共同点（Weinthal 2016）。所有纺织品的制作，无论是史前的还是最近的，取决于技术的发展。这些技术通常远远超出时尚和纺织品制造领域。例如，法国织布工 Joseph Maria Jacquard 的 1801 年提花织机，能够通过木制穿孔卡片制作图案，启发了英国数学家 Ada Lovelace 和 Charles Babbage 创造