1. Introduction

This study is part of a broader master’s research project on changeable and adaptable clothing, referred to here as “reconfigurable clothing”. Reconfigurable clothing is characterised by its ability to adapt and change to some degree. Such garments feature elements such as reversibility, modularity, transformability, and wearable technology. They are also known as “two- or three-in-one” clothing, “adaptable clothing”, “transformable clothing”, “multifunctional clothing”, “modular clothing”, “reversible clothing”, and “detachable clothing”, among other designations. In all cases, these garments can be altered according to user interaction. This type of clothing has distinct characteristics, hence the need to name and classify its types and use the plural form.

The semantic choice of the term “reconfiguration” was motivated by the need to avoid conflicts with existing terminology, such as “transformable”, and also to name a specific type of clothing. As the research progressed, it was noted that some authors, such as ^{Quinn (2002}, ²⁰⁰³), ^{Farrer (2011}) and ^{Machado (2011}), use the term “transformable clothing”. In turn, ^{Li et al. (2018}) described and characterised modular clothing in three ways. ^{Körbes (2015}) associates transformable clothing with the concept of “modularity”, which integrates the approach of mass customisation. There is also the Italian Alessandra ^{Vaccari (2021}, ²⁰²²), and the Americans ^{Bradley Quinn (2002}) and Andrew ^{Bolton (2002}), who carried out historical and social classifications and analyses of this type of clothing, each in their respective contexts, using the adjective “transformable” in the case of the first two authors and the definition of “supermodern clothing” for the latter.

However, the reconfigurable clothing group includes: modular clothing, which is usually formed by components or modules; transformable clothing, which the wearer can alter; reversible clothing, which is composed of rolled fabrics, tied to some part of the body, or offers the possibility of wearing either the right side or the reverse side of the garment; and technological clothing, which incorporates some form of electronic or digital device.

This study arose from the motivation to explore how the same garment can be used in different ways, allowing recognition of notable designers and brands that develop fashion products with a mutational approach. Thus, it was possible to demonstrate the practical relevance of this study, as evidenced by scientific research on wearables, such as that highlighted by ^{Oliveira et al. (2023}) and O’Nascimento (2021), which shows how these technologies can collect user data to enable the treatment or prevention of diseases. Another relevant aspect is that this type of clothing allows for optimisation during use, thereby delaying disposal and, consequently, reducing the generation of textile waste in landfills, which minimises environmental impact, as ^{Gwilt's (2020}) study shows That said, the objective of this study is to conceptualise and classify the types of reconfigurable clothing in order to justify the proposed terminology. The guiding question is: what are the kinds of clothing with the capacity for mutation, and what definitions have been assigned to each of them?

Based on this, the second section addresses the relationship between fashion and sustainability. It is followed by the methodology section, which clarifies the methods used. The theoretical framework then provides a definition and classification of reconfigurable clothing, enabling an understanding of how this adaptation is achieved. In the fourth section, the use of the verb “reconfigure” is examined. The fifth section compares the types of reconfigurable clothing, and finally, the study highlights some brands that do not adopt this approach but produce individual pieces of changeable clothing.

2. Fashion and Sustainability

The era in which we live is often described as “postmodernity”, a time marked by transformations in social values. In this context, new ways of living and relating to one another, as well as to objects, emerge. We live in an age where constant change, whether physical or ideological, coexists with hedonism - that is, the pursuit of living intensely in the present. These dynamics are influenced by factors that permeate contemporary life, such as technological advances that have driven the practice of digital culture.

Sociologist ^{Zygmunt Baumann (2000/2021}) referred to contemporary society as “liquid modernity”, a period in which institutions and rules once considered solid are no longer the centre of social relations, giving way to a more liquid society where everything is transient, ephemeral and unstable. ^{Gilles Lipovetsky and Jean Serroy (2013/2015}) describe the current era as “hypermodernity”, characterised by an acceleration of phenomena as well as a certain fluidity, where everything becomes commodified and disposable, with a constant renewal of material things.

In this sense, the phenomenon of fashion becomes a protagonist of social relations, symbolising precisely these characteristics: rapid change and the cult of the new. This is particularly evident in large cities, where people live at a fast, unpredictable and insecure pace, valuing socialising in closed and private spaces. Aware of the urgent need for sustainability, researchers such as Kate ^{Fletcher and Lynda Grose (2011}), Alison ^{Gwilt (2011}, 2020), Lilyan ^{Berlim (2012}), Elena ^{Salcedo (2014}), and ^{Payne (2021}), among others, are concerned with finding solutions and ways to develop fashion products that are more responsible and aligned with social, economic and cultural issues. One such solution has been to understand the impacts caused at each stage of the garment’s life cycle: creation, production, distribution, use, and disposal.

Understanding this social context is important because of its profound relationship with today’s actions and consumption choices. On the other hand, Italian sociologist and fashion theorist Patrizia ^{Calefato (2021}) argues that fashion is transdisciplinary because it has a complexity that reflects “the contemporary world in which globality and micro-locality, cultural heritage and future-oriented innovation confront each other” (p. 45). However, the author adds that “fashion becomes an integral part of the global concern for the sustainability of our productive, communicative and consumption behaviours” (Calefato, 2021, p. 46). This is because the clothing production sector is the second most polluting industry in the world, surpassed only by the oil industry.

Leonardo ^{Boff (2017}) reinforces that the term “sustainability” refers to a set of actions and processes aimed at maintaining the vitality and integrity of planet Earth, as well as preserving ecosystems and sustaining the physical, chemical and ecological elements that enable the existence and reproduction of life, meeting the needs of present generations while protecting those of the future. Thus, the author defines sustainability as “a way of being and living that requires aligning human practices with the limited potential of each biome and the needs of present and future generations” (^{Boff, 2017}, p. 11).

The fashion and clothing industry has adopted regulatory strategies aimed at minimising its environmental, social and economic impacts throughout all stages of a garment’s life cycle. However, the sector still faces significant challenges. Ecological problems, such as waste generation, water use, chemical use, greenhouse gas emissions, and impacts on biodiversity, remain a global reality. From a social perspective, labour issues, including safety, health and wages throughout the supply chain, continue to represent critical ethical challenges for the sector (^{Payne, 2021}).

The concept of circularity in design refers to the development of environmentally responsible products throughout their entire life cycle. It is assumed that fashion design should prioritise methods and materials considering their impacts, from manufacturing through to opportunities for extending the useful life of garments and post-consumer recycling.

Both designers and users play an important role in environmental responsibility. The production, use and disposal of fashion garments have a wide range of impacts. It is therefore essential that a garment or product is created with consideration for its life cycle, which

refers to the journey of a product from the extraction of the raw fibre to the product end-of-life. Recent discourse has pointed to a need to consider this final stage as end-of-use (rather than end-of-life), which is far more appropriate in a circular economy where materials need to be kept at their highest utility and value at all times, never becoming waste. (^{Gwilt, 2020}, p. vii)

In the current climate, environmental issues have significantly influenced how we interact with the world. For this reason, fashion designers, as social agents, engage in dialogue with other social sectors through the development of clothing items, seeking to reflect the needs of the times. In this sense, fashion designers strive to create clothing using sustainable materials and approaches, aligning the fashion industry with environmental concerns.

It is increasingly evident that fashion designers are pursuing alternatives to minimise the impact of clothing production and materials on society and the environment. Contrary to what is preached by “the current mode of production aimed at the highest level of accumulation” (^{Boff, 2017}, p. 17), it is clear that reconfigurable clothing can offer a way out of obsolescence, owing to its capacity for mutation and functionality.

Designers, in turn, are responsible for the objects designed in the world we are born into, through which we learn to understand, live, and develop habits, perceptions and desires. Therefore, it is assumed that they can critically identify new possibilities to promote actions that protect and maintain “a qualitative condition of being over time” (^{Fry, 2009}, p. 43).

For this reason, issues such as social responsibility, sustainable development and conscious consumption have become part of the daily lives of companies, society and government (^{Moraes, 2008}). However, for a product to be considered eco-efficient, it is not enough to meet environmental requirements alone; it is “necessary to satisfy the basic requirements of a product design, that is, the requirements for service provision, technology, economics, legislation, culture and aesthetics” (^{Manzini & Vezzoli, 1998/2002}, p. 105).

In a context of unsustainability, the development of a product with a longer useful life generates value. It suggests a variety of options in the elements that define clothing, without necessarily implying constant investment and acquisition of objects (^{Machado, 2011}). Thus, a modular and transformable design is proposed as an alternative for a more durable wardrobe.

Designers who develop reconfigurable clothing aim to explore the possible forms that a garment can take. This idea is clearly illustrated by Korshi, designer of the Korsh01 brand, who adopts a reconfiguration approach, specifically, a modular one. On his website, he presents a garlic press (Figure 1) as an example of a versatile product. The designer argues that objects should be explored beyond their primary function in order to minimise waste production. In this case, the garlic press also serves as a bottle opener, a nutcracker, an olive pit remover, and a multi-purpose tool, suggesting that the clothes he designs, and others, should have more than one function.

Source.FromA nova coleção da #Korshi01 mostra que o design inteligente da marca não se resume a uma identidade visual[Post], by ^{KORSHI 01, 2019}, Instagram. (https://www.instagram.com/p/Bxf2xqnJ4G/?igsh=eXd1czJicWp2cnh5)

Figure 1 Garlic press - Korshi 01 

3. Methodology

This research adopted a bibliographic approach, aiming to conceptualise and classify the types of reconfigurable clothing. Data collection was conducted using Google Scholar, which served as the main research base. Searches were performed without time restrictions, as the focus was on identifying relevant articles and books on the subject, given the limited amount of available material. To this end, the following keywords were used: “multifunctional clothing”, “modular clothing”, “transformable clothing”, “reversible clothing”, “double-sided clothing”.

The criteria for selecting articles and bibliographic sources were as follows: (a) the content should address some clothing reconfiguration; (b) the user should perform the reconfiguration; (c) regardless of the type of reconfiguration, the garments should be able to return to their initial state. Therefore, the choice of bibliography is based on its ability to describe and define the garments, thus allowing us to answer the main question of this study.

The selected articles were analysed qualitatively using content analysis (^{Bardin, 1977/2011}). The data were categorised according to the types of reconfigurations identified in the literature, enabling the construction of a comparative table of the characteristics of each kind. The comparative analysis helped us to identify the similarities and differences among various types of reconfigurable clothing, as well as the trends and challenges present in this area of research.

It is essential to acknowledge that this research has certain limitations. The reliance on bibliographic sources available in electronic databases may restrict the scope of the analysis. Furthermore, the subjectivity inherent in qualitative analysis may influence the results. However, the methodological rigour employed aims to minimise these impacts and ensure the reliability of the findings.

4. Definition of Reconfigurable Clothing

4.2. Modular Clothing: Concept of Personalisation and Reconfiguration

Modular fashion represents a significant advance in clothing design, allowing consumers to create multiple looks from a limited number of pieces. Unlike reversible clothing, modularity requires more active interaction from the user, who can personalise combinations according to their preferences and needs.

^{Gwilt (2020}) defines modular fashion as a flexible system that enables the creation of various combinations from a set of basic pieces. This modularity is achieved by subdividing garments into independent modules that can be assembled in multiple ways. For example, a hood can be detached from a jacket and transformed into a bag, or the legs of a pair of trousers can be removed to create shorts.

^{Li et al. (2018}) highlight three key characteristics of modular design: diversity, flexibility and continuity. Diversity allows users to create unique and personalised combinations; flexibility enables the separate sale of modules, making the product more accessible and sustainable; and continuity refers to the possibility of reusing modules in different garments, thereby extending the product’s life cycle. The authors classify modular design into three types: component modular design, geometric modular design and compounded modular design. The first type involves dividing a piece into parts that can be recombined in different ways. The second uses geometric shapes as the basis for constructing the modules, allowing for a broader variety of combinations. The third combines the first two approaches, offering even more possibilities for customisation.

Examples of modular garments include Sebastian Errazuriz’s zipper dress (as illustrated in the study by ^{Li et al., 2018}, p. 30), which allows for countless combinations, and Berber Soepboer’s Fragment collection, which uses triangular modules to create versatile skirts. Errazuriz designed a zipper dress containing 120 individual zippers, which acted as modules. When assembled, they could form a skirt or a top (^{Li et al., 2018}). The concept is reminiscent of a modular dress developed by Emmanuelle Khanh in 1966 (https://sweetjanespopboutique.blogspot.com/2012/11/emanuelle-khanh-for-paraphernalia-1966_4.html).

^{Dombek-Keith and Loker (2011}) argue that modular clothing can contribute to more conscious consumption by enabling users to maintain a more versatile and durable wardrobe. Their Suit Yourself project exemplifies how modularity can be employed to create high-quality garments with a low environmental impact. As noted at https://new-material-award.nl/en/fragment-textiles/, the skirt was constructed by fitting triangular modules with textiles from Refinity.

The Cukovy brand, founded in 2014, offers flexible and innovative design solutions through reconfiguration, adopting a modular clothing approach. Its jackets include detachable sleeves and hoods, allowing for multiple styling options. Inspired by everyday life, the brand transforms familiar motifs into wearable works of art.

As another example, in 2021, designer Jorge Feitosa developed a piece entitled “Objeto Modular Vestível” (Wearable Modular Object; Figure 2) as part of his Ajuntamento SULANCA por Nós collection. The piece is made from fabric scraps - including cotton, polyester, and viscose - as well as trimmings such as fixed and detachable zippers, which serve as connecting elements in its modular construction. Notably, the creation is composed of modules that can be fitted and rearranged according to the user’s preferences and needs.

Credits. Ketilley Luciane de Jesus Purpura, 2025

Figure 2 Objeto Modular Vestível, 2021, exhibited in Artistas do Vestir: Uma Costura de Afetos, Itaú Cultural 

4.4. Wearable Technologies: The Convergence Between Fashion and Technology

The intersection of fashion and technology has given rise to a new type of reconfigurable clothing: garments incorporating electronic components. According to ^{Oliveira et al. (2023}), these garments serve specific functions, adapting to individual or collective needs.

^{Vieira Pinto (2005}) defines “technology” as the set of techniques used by a society. In the context of fashion, wearable technology refers to the integration of electronic elements into clothing, enabling it to collect and process data from the human body. ^{O’Nascimento (2020}) emphasises the proximity between technology and the body, facilitated by sensors and actuators embedded in garments.

^{Tobbin and Cardin (2021}) expand this definition by describing wearables as devices that measure physiological signals - such as heart rate and sleep quality - and transmit this data to other devices. These technologies are widely employed in sectors such as healthcare and sport, while also gaining relevance in entertainment and industry. The basic components of a wearable system are:

• Sensor: collects data about the body or environment;

• Processor: analyses the data collected by the sensor;

• Actuator: displays the results of the analysis through sounds, vibrations, or other signals.

The internet of things plays a crucial role in the evolution of wearable technologies, allowing for the interconnection of multiple devices and the aggregation of large volumes of data. ^{Laghari et al. (2021}) underscore the transformative potential of the internet of things in reshaping our interactions with technology and the world around us.

Wearable technologies have applications across multiple fields, including:

• Health: monitoring vital signs, early disease detection and treatment tracking;

• Sports: performance analysis and customised training;

• Entertainment: virtual and augmented reality, interactive gaming and immersive experiences;

• Industry: monitoring personnel in hazardous environments and process optimisation.

However, the development of wearable technologies raises pressing questions concerning privacy, security and surveillance. The collection and use of personal data through such devices may raise concerns regarding control, ownership, and the ethical handling of this information.

Examples such as the InvisDefense jacket, which uses camouflage patterns to avoid detection by surveillance cameras, and facial-recognition helmets worn by Chinese police, illustrate the ethical complexities and challenges inherent to the advancement of these technologies.

Another notable example is clothing that changes colour when exposed to light or sunlight. The Japanese brand ANREALAGE merges high technology with innovative material use, employing photosensitive fabrics. Figure 3 shows two images from the brand’s 2023 catwalk show in Paris, where the garments changed colour in real time. The previously all-white garments instantly transformed into colourful and patterned pieces through the use of photochromic pigments activated by ultraviolet light.

Source. From Quem disse que moda e tecnologia não caminham juntas? Na semana de moda em Paris, a grife @anrealage_official, do designer Kunihiko Morinaga [Video], by ^{Steal the Look, 2023}, Instagram. (https://www.instagram.com/reel/CpOLq5JJSdG/)

Figure 3 Anrealage - Paris, 2023 

The convergence of fashion and technology promises an increasingly connected and personalised future. The development of smart materials, the integration of artificial intelligence, and the miniaturisation of electronic components are some of the key trends that will influence the evolution of wearable technologies.

These innovations mark a revolution in how we experience fashion and interact with the world. By merging functionality and style, wearable technologies open up new possibilities for personal expression and enhancing the quality of life. Nevertheless, the advancement of these technologies must be accompanied by critical discussions on their social and ethical implications, ensuring that their benefits are maximised while minimising potential risks.

5. The Use of the Verb “Reconfigure”

So far, we have classified several types of clothing that share the characteristic of being adaptable or modifiable, including reversible, modular, transformable, and technologically enhanced garments. To encompass this diversity and their possibilities for transformation, we use the term “reconfigurable”. The choice of the verb “reconfigure” was not arbitrary. According to the ^{Dicionário Michaelis (n.d.}), “reconfigure” means “to configure (something) again or in a new way”. The etymology of the word, derived from the Latin figura, reinforces the idea of transformation in form and appearance. This broad definition includes everything from simple surface reversals in reversible clothing to more complex transformations seen in modular and technological pieces.

In addition, the prefix “re-” suggests repetition or renewal, aligning with key discussions surrounding sustainability and circularity in the fashion industry. Authors such as ^{Fletcher and Grose (2011}), ^{Gwilt (2011}, 2020), and ^{Salcedo (2014}) emphasise the importance of designing garments that are more durable, versatile and adaptable over time. Within this framework, reconfiguration emerges as an effective strategy for extending the life cycle of clothing and, consequently, reducing the environmental impact of the fashion industry. In this sense, it is directly connected to the principles of the sustainability “Rs”, which also encompass user-led actions, particularly in the context of clothing.

It is also worth noting that the term “reconfigure” is used in other domains, such as computer science. However, its application in the field of fashion assumes distinct nuances, closely related to creativity, individual expression and the dynamic relationship between the body and clothing.

6. Comparative Analysis Between Types of Reconfigurable Clothing and Modularity

Modularity - the ability of a system to be composed of independent parts that can be combined in different ways - is a fundamental concept for understanding the construction and adaptation of reconfigurable clothing. ^{Pine (1992/1994}) identifies various types of modularity, each with distinct characteristics and applications within the fashion industry.

Table 1 presents a comparison between the types of modularity proposed by ^{Pine (1992/1994}) and their relationship with reconfigurable clothing. It can be observed that mix modularity and sectional modularity are most closely aligned with transformable and modular clothing, respectively.

Table 1 Types of modularity 

Mix modularity, for instance, enables various combinations from a limited set of components, similar to transformable clothing, which assumes different shapes and functions. Sectional modularity, marked by high customisation and flexibility, mirrors modular clothing, which can be readily disassembled and reassembled.

^{Körbes (2015}) emphasises the significance of modularity in the clothing design process. From conception to construction, garments are viewed as assemblages of parts that can be combined in multiple ways. This modular approach facilitates customisation and adaptation to the wearer’s individual preferences and needs. The painting The Planetarium by Öyvind Fahlström (1963; Figure 4) vividly illustrates the concept of “modularity” in fashion. The work features human figures adorned in various combinations of garments, demonstrating the potential to create an infinite number of variations from a limited set of elements.

Credits. Ketilley Luciane de Jesus Purpura, 2023

Figure 4 The Planetarium - Öyvind Fahlström, 1963. Photograph taken at the Pompidou Museum in Paris 

Understanding the various types of modularity is crucial for comprehending the complexity and diversity of reconfigurable clothing. By analysing the characteristics of each modularity type and its relationship with clothing, new possibilities emerge for designing and producing more personalised and sustainable garments.

7. Brands With Reconfigurable Clothing Items in Collections and Lines

Here we have selected a few brands that have produced individual items of clothing with reconfigurable features. The selection criteria were their relevance at the national (Brazil) and international levels. These brands illustrate how, despite being limited, there is interest among major labels in developing garments using this approach, as demonstrated by Adidas and Osklen below.

Osklen, a Brazilian brand known for its commitment to sustainability and the Rio de Janeiro lifestyle, offers a reconfigurable item. The detachable jumpsuit (https://www.osklen.com.br/produto/macacao-destacavel-caqui-caqui-6617217) is a notable example, allowing for various combinations from a single piece due to its modular design and the use of Velcro. This versatility, combined with the use of sustainable materials such as organic cotton and fish leather, positions Osklen as a benchmark in sustainable and functional fashion.

Adidas, a giant in the sportswear market, also explores the concept of reconfigurability in some of its pieces. The rib two-in-one Leggings (https://www.adidas.com.br/legging-canelada-2-em-1-always-originals/HF2085.html?-_) from the Originals line exemplify how the brand combines performance and versatility. The snap-on system allows the leggings to be transformed into shorts or even a complete outfit by adding the matching top. Although Adidas places greater emphasis on sports performance, this piece demonstrates the brand’s effort to meet the demands of consumers seeking functional and sustainable products.

Both Osklen and Adidas demonstrate a growing interest in reconfigurable garments that combine fashion, functionality, and sustainability. The modularity and versatility of these garments meet the demands of increasingly conscious and discerning consumers. However, there remains ample room for brands to explore this potential more broadly by offering a wider variety of reconfigurable garments and encouraging a circular economy.

8. Final Considerations

This study has successfully conceptualised and classified the types of reconfigurable clothing, providing a foundation for the proposed terminology. It was noted that, although each approach has distinct characteristics, authors often group them under the same nomenclature, which can lead to confusion regarding their specific functions.

The research also highlights the growing interest among fashion brands and designers in sustainability, underlining the relevance of reconfigurable clothing as an innovative and sustainable alternative within the fashion industry. By enabling a single garment to assume multiple forms and functions, reconfiguration contributes to creating more versatile and durable wardrobes, thereby reducing excessive consumption and the need for premature disposal.

User interaction plays a fundamental role in the potential of reconfigurable clothing. Allowing individuals to personalise and adapt their garments fosters a more intimate and meaningful relationship between the wearer and their clothing. This customisation is especially valuable for individuals with specific needs, such as those with disabilities or limited mobility.

Beyond sustainability and personalisation, reconfigurable clothing opens new avenues for individual expression and aesthetic experimentation. Designers like Hussein Chalayan exemplify how reconfiguration can transcend traditional fashion boundaries, transforming garments into true works of art.

The integration of technology within reconfigurable clothing further expands the possibilities for the future. The use of smart materials and connectivity with electronic devices can enhance both functionality and customisation. Consequently, reconfigurable clothing represents a promising trend in fashion, with the potential to transform how we conceive, create, and consume clothing. By combining creativity, technology, and sustainability, reconfiguration offers an innovative alternative for a more sustainable and customised future.