Behaving badly? The conservation of modern textile art

Textile conservators are increasingly likely to be asked to treat modern textile artworks. These often present new challenges: they may be made of unusual materials whose deterioration patterns are unfamiliar, they may utilise traditional textile techniques in unusual ways. Modern artworks may be hung in unconventional ways, or be displayed in spaces which are not standard museum venues. It is commonly accepted that it is necessary to gain as much information as possible in order to preserve the artist’s intent when treating modern artworks. Legislation also gives the artist moral rights over his or her work. The issues involved in the conservation of modern textile artworks are illustrated with examples of pieces treated at the Textile Conservation Centre, UK, among others, and with particular reference to a piece by Robert Rauschenberg

Cloth & Culture Now

Cloth & Culture Now investigates the links between contemporary textile practice, strong traditional practice and overlapping global influences, offering a framework for the study of contemporary textile practice within a cultural specific, trans-national and cross-cultural context. The exhibition brings together, for the first time, contemporary textile works from Estonia, Finland, Japan, Latvia, Lithuania and United Kingdom. Exhibited two works, "The Perfect - Alex" and "The Perfect - Emilie, Annette, Marie, Cecile and Yvonne". The exhibition generated press including extensive previews in ‘Embroidery’ and ‘Textile Forum’ with reviews in ‘Crafts’ and ‘Modern, Carpets and Textiles for Interiors’. At the Whitworth Gallery, Manchester I delivered a public lecture and workshop

Production Factors Analysis of Traditional Weaving Textile “ULOS” of Padang Sidimpuan Municipality of Indonesia

Many assumptions appear that traditional textiles benefits are not matched with modern business production costs. This study aimed at finding the production factors of traditional textiles of Ethnic Batak of Indonesia such as capital, labor and raw materials. Those factors have contributed to the production value of the Weaving Textiles Business.  This study focused on the traditional textiles of South Tapanuli in Indonesia which is so called “Ulos”. With the business factors analysis, the Correlational Research Design was conducted in the oldest manufacture of textiles Ulos, Paulina Manufacture.  Data analysis showed the most dominant factor influencing the production value of the Ulos Paulina Textile in Padang Sidimpuan  was a raw material because the partial test showed that the value of raw material contributes more (with a t-count of 3.262) compared to the capital variable (2,242 ) and labor (2,048). It conclude that the capital, labor and raw materials partially have great significant and positively affect partially on the value of production in the Ulos Paulina Textile Factory

Strain rate effect on the mechanical behaviour of a textile reinforced cement composite

The static tensile behaviour of Textile Reinforced Cement Composites is known and can be modeled adequately. However, using these static material properties under dynamic loadings such as impact and seismic loadings, can cause over- or underestimation of the material due to effects of strain rate. This work focuses on the strain rate dependency of a specific textile reinforced cement composite under tensile loadings at strain rates equivalent to quasi static applications towards low velocity impacts. It was found that the main damage mechanisms of this material stay the same. However cracking of the cement matrix is delayed to higher stress levels

Nature as paradigm for sustainability in the textile and apparel industry

Imagine if clothing of the future would adapt, grow, self repair and change appearance. The relationship between wearer and garment would be that of symbiosis enabled by developments in material science that produce textiles able to imitate functionalities of living organisms rather than just the properties of natural fibres. We can expect clothing of the future to host an array of new properties that may interact or integrate with the body, self maintain, reproduce and self assemble to accommodate changes in our activity and environment. Materials and structures in nature already demonstrate these functions and can indicate ways of transferring the technology into clothing. Biomimetics can operate as a platform to accommodate these future requirements and provide a new perspective in the design and assembly of clothing systems

Bold Impressions: block printing 1910-1950

An edited extract from the illustrated brochure produced to accompany a touring exhibition curated by Mary Schoeser for Central Saint Martins College of Art & Design, shown in the Lethaby Gallery, Southampton Row, from October 3rd to 31st, 1995, and at ten subsequent venues until June 1997

Editorial: Craft and the Handmade: Making the intangible visible

In November 2014, the Department of Fashion and Textiles at the University of Huddersfield hosted the conference Transition: Re-thinking Textiles and Surfaces. The conference sought to scrutinize current and future developments in textile research and its applications within the wider context of the creative industries. With keynote presentations from Professor Becky Earley, Professor Jane Harris, Dr Subramanian Senthilkannan Muthu, publisher David Shah and Trend Union forecaster Philip Fimmano, this two day event brought together a myriad of theoretical perspectives and material approaches through four distinct tracks: Science and Technology, Sustainable Futures, Craft and the Handmade and Enterprise/Industry/Business. This guest edited issue of Craft Research focuses on Craft and the Handmade and features articles that were first delivered as papers within this track

Exploring the Abilities of 3D Printing and its Viability for Consumption in the Fashion Industry

Abstract With the ever-evolving state of today’s technology, designers and retailers in the apparel industry are seeking out new technological methods that have the capacity to revolutionize and individualize their brand, as well as meet consumer needs and preferences. An emerging technology is 3D printing, which utilizes computer-aided technology and a variety of filaments to construct an object. Though 3D printing technology offers the ability for rapid prototyping, a condensed supply chain, and a sustainable additive manufacturing process, there is question as to whether or not consumers are ready for 3D printed clothing to enter their wardrobes. In this creative study, the authors designed a 3D printed garment in order to test whether 3D printers could be used to make wearable clothing of similar characteristics to clothing typically made of fabric. A survey was then conducted on the University of Arkansas campus to measure consumer response to the project garment. Three primary factors were measured: prior exposure and interest in 3D printing, general fashion interest, and aesthetic appeal of the project 3D printed garment. Overall perceptions of the project garment as well as further use of 3D printing for the apparel industry were positive. The ability of this study to create a fully 3D printed garment as well as understand consumer response to 3D printed clothing provides insight into this emerging technology. The results warrant further research into its capabilities for fashion and that the fashion industry could move towards adopting this technology on a wider scale in coming years. The results indicate that a major transformation in ready-to-wear style is feasible and beneficial to the apparel industry because of 3D printing. Keywords: 3D printing, fashion, consumer preference, sustainability, apparel, technolog