Weaving Lighthouses and Stitching Stories: Blind and Visually Impaired People Designing E-textiles

We describe our experience of working with blind and visually impaired people to create interactive art objects that are personal to them, through a participatory making process using electronic textiles (e-textiles) and hands-on crafting techniques. The research addresses both the practical considerations about how to structure hands-on making workshops in a way which is accessible to participants of varying experience and abilities, and how effective the approach was in enabling participants to tell their own stories and feel in control of the design and making process. The results of our analysis is the offering of insights in how to run e-textile making sessions in such a way for them to be more accessible and inclusive to a wider community of participants

ICS Materials. Towards a re-Interpretation of material qualities through interactive, connected, and smart materials.

The domain of materials for design is changing under the influence of an increased technological advancement, miniaturization and democratization. Materials are becoming connected, augmented, computational, interactive, active, responsive, and dynamic. These are ICS Materials, an acronym that stands for Interactive, Connected and Smart. While labs around the world are experimenting with these new materials, there is the need to reflect on their potentials and impact on design. This paper is a first step in this direction: to interpret and describe the qualities of ICS materials, considering their experiential pattern, their expressive sensorial dimension, and their aesthetic of interaction. Through case studies, we analyse and classify these emerging ICS Materials and identified common characteristics, and challenges, e.g. the ability to change over time or their programmability by the designers and users. On that basis, we argue there is the need to reframe and redesign existing models to describe ICS materials, making their qualities emerge

Woven Images: All Techniques Considered

What motivates an artist to create images using textile media? What weaving techniques are suitable for image making? Weavers through the ages have taken colored weft threads in hand and inserted them into the warp, row-by-row, building shape upon shape in the powerful and nuanced, yet structurally simple, technique of weft-faced tapestry. With the invention of the jacquard loom, the kind of complex image making that was previously only common in tapestry weaving became mechanized, and available on a commercial level that involved faster production rates, lower costs and the creation of multiples. In recent years, the innovations in, and wider availability of jacquard type device looms have made sophisticated warp controlled technology available, and attractive, to artist/weavers. This paper will explore some of the issues surrounding the choices made by artists as they create their work either in traditional weftfaced tapestry or through loom-controlled methods, particularly the jacquard loom. The research for the paper will include facilitating conversations among weavers who use different woven techniques to create images in textiles, artists such as: Bhakti Ziek; Alice Schlein; Bethanne Knudson; Jennifer Sargent; Sigrid Piroch; Kaija Rautiainen; and Christine Spangler. Their artwork and perspectives will be featured in the paper, along with the author’s insights

DTI Economics Paper No. 2: A comparative study of the British and Italian Textile and Clothing Industries.

Commissioned by: Association of Suppliers to the British Clothing Industry Conference, Hucknell, Nottingham, February 2004 During the 1990s the Italian clothing and textiles industry grew while the British, French and German textile and clothing industries declined by 40%. In 2001 the Italian textiles & clothing sector was three times larger than the British, accounting for 11.7% of Italian manufacturing output but only 3.3% in Britain. In 2000 Italian fabric exports were 15 times that of the UK. The study was conducted in response to a recommendation by the Textiles and Clothing Strategy Group (TCSG), comprising UK industry, trade unions, Higher Education and the DTI. The purpose of the study was to account for these differences, assess relative merits against value for money and identify best practice in the Italian industry. The methodology comprised comparative analysis and case studies of British and Italian textile mills and tailoring manufacturers, based on my initial recommendations. We visited 5 textile mills in Yorkshire and 15 in Italy plus 3 factories in each country. I conducted a detailed comparative technical analysis of the construction of suit jackets against 13 devised criteria, a number of interviews,compared technologies, equipment and manufacturing methods across all factories, against 8 criteria, drawing on my specialist knowledge and experience as a menswear clothing technologist. The technical reports I compiled formed a section of the final report. Findings were presented to the Clothing Strategy Group and published by the DTI as their Economic Paper No 2 . I made further presentations to industry and academic groups including ASBCI, FCDE, The Textile Society, Savile Row Tailors Association, and LSE. Other outcomes were a publication in the Journal of the Textile Society Text, an article in Selvedge magazine and contributions to the Encyclopaedia of Clothing by Thomson Gale. As a result of this research further consultancy projects have been conducted with the Industry Forum and ASBCI

Employment Trends in Textiles and Apparel, 1973-2005

[Excerpt] The article “examines employment trends in the textile and apparel industries, reviewing the likely causes of both the recent historical and projected declines, their varied effects across occupations groups, and the response American producers have developed to adapt to the rapidly changing economic realities”

The Influence of Computer Technologies on Contemporary Woven Fiber Art

It is generally agreed upon, by both the participants in the field and those few who have chronicled it, that the fiber art movement as we know it today began with Jean Lurcat in France in the late 1950s. He was among the first, if not the first, to make designs or cartoons specifically for the medium of tapestry. Previously, paintings were translated into the medium of tapestry. As well as creating the design or cartoon, he personally oversaw the actual weaving process. This direct connection between the process and the concept or image, the manual and the mind, laid the groundwork for the fiber arts of today. In 1962 Lurcat founded the Lausanne Tapestry Biennale, the international exhibition whose contents have profoundly influenced the course of this field. In fiber art, textiles are separated from function and, instead, focus on the maker\u27s expressive need. In this pursuit, historic techniques and constructions are used in new configurations. These processes offer the artist new methods of effecting visual and physical form, scale, and content. In the sixties, the results of these manipulations and interpretations were massive, excessive, and often three dimensional. In the late seventies and eighties, this unrestrained exuberance was modified. Concern was expended on the quality of the cloth as well as on the subtlety and specificity of the expressive content. More recently, the visual expressions of the portion of fiber artists who are weavers have been influenced by the possibilities inherent within computer technologies. The link between the computer and the loom is specific. They are both based on binary principles. It is said that the Jacquard loom was inspiration for the invention of the first computer. As Emily DuBois points out, Thousands of weave structures are derived from two simple positions of the warp—up and down. In the same way, the computer performs thousands of tasks based on two positions called 0 and 1. In weaving, these positions are notated on graph paper by a filled-in or black square when the warp is up and a white one when it is down. The 0\u27s and 1\u27s become the machine language of the computer

Doublecloth: History, Technique, Possibilities.

Merged with duplicate record 10026.1/2320 on 06.20.2017 by CS (TIS)The aim of this research is to analyse through practical and historical investigation the manner in which Doublecloth in the twentieth century has been transformed from a traditional woven technique to one of artistic innovation and challenge. The first series of woven samples and historic enquiry concerns the structure and pattern of doublecloth at a time when its industrial and craft-based use was for the production of decorative and utilitarian woven fabrics. The research focuses on the extent to which this technique was given aesthetic credibility by its altered profile at the Bauhaus and the subsequent influence of the writings and work of Anni Albers. While the philosophy and products of the Bauhaus and the role of Walter Gropius have been documented and widely debated the practice of textiles, and the influence on it of gender, class and the hierarchical practice of craft, has received little critical attention. The research seeks to redress this imbalance, evaluating why the output of the textile workshops was undervalued artistically and considered marginal to the products from other workshops. This leads to a consideration of the interface between the practice of Fine Art and the practice of Craft, between designing and making, between art and industry. The woven samples are a process of experimentation against which the historic stages can be tested and the technical constraints of contemporary practice can be explained. This primary material leads to a consideration of the new technology and the impact of Nuno doublecloth fabrics on the production of doublecloth for the mass market. The evidence suggests that while new fabric finishes and experimental pattern effects are desirable, the difficulties of hand production are so prohibitive, that it is only with computer aided technology that such ambitions can be me

Material relationships: the textile and the garment, the maker and the machine. Developing a composite pattern weaving system

This research brings together the disciplines of woven textile design, zero waste pattern cutting and fashion design to form the Composite Pattern Weaving system; an innovative approach to woven garment design and construction which assimilates textile and garment lay-plan design and construction to produce engineered zero waste and integrally shaped woven garments, containing multiple fabric qualities, from a single length of woven textile. The approach challenges conventional textile and fashion design processes and systems by adopting a holistic and simultaneous approach to the design and production of textile and garment components; facilitating the integration of functional and sustainable design strategies to enhance garment durability and longevity through the implementation of a multi-method lifecycle approach to design. This research adopts the Transitional Design Methodology; an alternative approach of working between traditional and advanced technologies which challenges the constraints of the two modes of production whilst capitalising on their advantages. This cyclical iterative approach emphasises the importance of the relationship between the maker, materials and the machine(s), whilst recognising the potential for a transitional dialogue and knowledge transfer between all aspects of hand and digital production. Employing both modes of production in parallel, the Transitional Design Methodology facilitates a reciprocal relationship whereby concepts, designs and ways of working evolve as the maker moves between modes. Through the production of zero waste woven garment prototypes using hand and digital weaving technologies, the research establishes new integral shaping techniques and woven garment construction methods to minimise material production, consumption and waste, and identifies some of the limitations of fully-fashioned and composite garment weaving. The garment prototypes embody the learning and knowledge derived through the application of the Transitional Design Methodology. They demonstrate the advantages of working iteratively between hand and digital modes of design and construction to produce innovative (and interconnected) design outcomes, to advance skills and processes, and enhance personal practice

Photonic patterns : fashion cutting with illuminating polymeric optical fibre (POF) textiles

2015-2016 > Academic research: refereed > Refereed conference paperOther Versio