The insights gained from the fourth-round intervention mark a decisive turning point in my research. Anxiety-free design thinking is no longer merely a theoretical framework distilled from Chengdu’s cultural atmosphere; it has demonstrated genuine potential to function as an applicable design methodology. At the same time, designers’ feedback revealed three directions that must be further developed in the next phase.
First, the sensory dimension needs to be advanced into specific design experiments. Designers emphasised that sensory experience is the most direct and tangible entry point into the feeling of “anxiety-free.” This indicates that the next stage should focus on prototyping through fabric tactility, thermal comfort, colour rhythm and ease of silhouette. I plan to develop material experiments and garment prototypes aimed at eliciting sensory ease, testing how the sensory dimension operates in real wearing scenarios.
Second, the temporal dimension should be translated into systematic design strategies. Designers’ emphasis on lifecycle, durability, multi-scenario usability and sustainability provides a new industry-facing methodology. I will break down “time” into measurable indicators—such as usage duration, care accessibility, replacement cycle and functional adaptability—and build a “time-friendly design system” that can guide future design decisions.
Third, the spatial dimension needs to expand from cultural space to experiential space. Although mentioned by fewer designers, their responses opened a highly forward-thinking direction: spatial experience can encompass bodily freedom, brand environments, display narratives and even virtual space. I will explore how spatial experience contributes to “anxiety-free” perception and incorporate it into future visual and narrative experiments.
Taken together, my next step is to:
translate the spatial–temporal–sensory dimensions into a structured methodology of design experiments, prototyping and experiential narratives, enabling anxiety-free design thinking to evolve from a cultural insight into an actionable design language.
This transition—moving from “validating a concept” to “developing a methodology”—will define the next stage of my research and lay the foundation for its future industry application.
Chinese Version：
第四轮干预的结果为我提供了一个极其重要的转折点：无焦虑设计思维不再只是我从成都文化中提炼出的理论框架，而是一个被行业反复验证、具有实际应用潜力的设计方法。然而，设计师的反馈也清楚地指出了未来研究必须深化的三个方向。
首先，感官维度需要进入更具体的设计实验。设计师强调感官体验是无焦虑感最直接、最可落地的入口，这提醒我未来应围绕面料柔软度、触感温度、色彩节奏与廓形舒展度进行原型测试。我计划在下一阶段开发一组以“感官减压”为目标的样衣或材料实验，用以检验感官维度在真实穿着体验中的有效性。
其次，时间维度需要转化为系统性的设计策略。设计师提出的生命周期、耐穿性、多场景性与可持续逻辑，为我提供了一个新的行业路线图。我将尝试将“时间”拆解为具体指标（如使用时长、护理便利性、替换周期、功能复用性），并构建一个可以指导设计决策的“时间友好型服装系统”。
最后，空间维度需要从文化空间扩展为体验空间。问卷中少数但极具前瞻性的回答让我意识到，空间维度可以从身体自由度延伸到品牌体验、展示叙事甚至虚拟空间。我将进一步探索空间体验如何影响“无焦虑感”，并将其融入视觉呈现与叙事性试验中。
综合以上反馈，我下一阶段的行动计划是：
以行业反馈为基础，将“空间—时间—感官”三个维度转化为设计实验、原型测试与体验叙事的方法论体系，使无焦虑设计思维从一个文化洞察真正走向具有可执行性的设计语言。
这意味着我的研究将从“验证概念”进入“发展方法”，这是无焦虑设计思维迈向下一阶段的关键一步。
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