Relevant bibliographies by topics / Textile and Fashion Design

Academic literature on the topic 'Textile and Fashion Design'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Textile and Fashion Design"

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Xiao, Ya-Qian, and Chi-Wai Kan. "Review on Development and Application of 3D-Printing Technology in Textile and Fashion Design." Coatings 12, no. 2 (February 16, 2022): 267. http://dx.doi.org/10.3390/coatings12020267.

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Three-dimensional printing (3DP) allows for the creation of highly complex products and offers customization for individual users. It has generated significant interest and shows great promise for textile and fashion design. Here, we provide a timely and comprehensive review of 3DP technology for the textile and fashion industries according to recent advances in research. We describe the four 3DP methods for preparing textiles; then, we summarize three routes to use 3DP technology in textile manufacturing, including printing fibers, printing flexible structures and printing on textiles. In addition, the applications of 3DP technology in fashion design, functional garments and electronic textiles are introduced. Finally, the challenges and prospects of 3DP technology are discussed.
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Salolainen, Maarit, Anna-Mari Leppisaari, and Kirsi Niinimäki. "Transforming Fashion Expression through Textile Thinking." Arts 8, no. 1 (December 24, 2018): 3. http://dx.doi.org/10.3390/arts8010003.

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The focus of this research is on the experiences of a new fashion pedagogy linked to textile studios at Aalto University, School of Arts, Design and Architecture, in Helsinki, Finland. Rich practice-based research and skilled use of materials and textile techniques are elements of transforming fashion design implemented through studio-based pedagogy. Effective learning is constructed by adding tacit and haptic knowledge of textiles into fashion expression. Furthermore, while textile design combines elements from aesthetic creativity with technical skills, this knowledge, textile thinking, can form a new grounding for fashion design. Through reflective learning, practically oriented and theoretical knowledge can be combined, and hands-on studio pedagogy has established the platform for this type of learning. Fashion students’ textile studies extend to woven fabrics and jacquards as well as knits, embroideries, prints, and other finishing techniques and aim to teach them about industrial manufacturing and provide them with an understanding of industrial processes and requirements. This research observes this transformation process of fashion expression through textile thinking based on observations, teachers’ reflections, and student interviews. Further, the learning outcomes have been reflected against the transformation of the curriculum to provide understanding for this development process.
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Bide, Bethan. "Class and creativity in fashion education: A comparison of the pedagogies of making and design at British technical schools and art and design schools, 1870s‐1950s." International Journal of Fashion Studies 8, no. 2 (October 1, 2021): 175–94. http://dx.doi.org/10.1386/infs_00049_1.

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Discourses of creativity play a crucial role in shaping cultural perceptions of what constitutes creative labour, who performs it and where it is located. This article explores the historical role that businesses, policy-makers and education providers played as co-producers of discourses about creativity in British fashion and textile design education. Beginning with the emergence of new vocational courses for textile design and manufacture in the 1870s, it traces how the language used to describe conceptions of creativity evolved in relation to educational provision for textiles, dressmaking and, later, fashion over the first half of the twentieth century. During this period, creativity became associated with labour related to designing fashion and textile goods ‐ such as illustration ‐ rather than the labour of making them. This shift resulted from the establishment of fashion and textile design as respected courses within art and design schools, which backed the ideal of a professional designer. It was implemented at the expense of, and with the effect of undermining the creative labour of staff and students in vocational trade schools. As a result, this article challenges the idea that the development of fashion and textile design courses in art and design schools democratized the creative labour of design in the British fashion industry by opening opportunities for the middle-classes. Rather, it finds that discourses around creative labour worked to exclude the creativity of the predominantly working-class students at technical schools, with long-term implications for the relationship between socio-economic status and access to the creative industries.
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Zhao, Lihuan, Silu Liu, and Xiaoming Zhao. "Big data and digital design models for fashion design." Journal of Engineered Fibers and Fabrics 16 (January 2021): 155892502110190. http://dx.doi.org/10.1177/15589250211019023.

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The demand for fashion, and for virtual fitting and personalized fashion among customers, is changing the design and consumption of fashion. To meet such challenges, fashion design models are being developed based on big data and digitization, in which fashion is designed based on data, virtual fitting, design-support systems, and recommendation systems. This paper reviews the fashion design models proposed in recent years and considers future development directions for fashion design. Using big data and digital processing technologies, fashion designers identify the characteristics of popular fashions in the market, predict fashion trends, and create designs accordingly. The virtual fitting of scanatar, parametric mannequin, or even real human bodies, enables customers to quickly and easily find fashion that best meets their tastes and requirements. On consumer design-support platforms, consumers can freely select styles, colors, materials, and other fashion aspects and view the design output. Furthermore, fashion recommendation systems, guided by fashion design experts, have greatly improved consumer satisfaction with fashion design. Yet, current fashion design systems do not fully consider the performance of textile materials and do not involve functional fashion design, let alone comfort. Such limitations provide directions future research in fashion design.
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Wang, Xue Qin, and Zi Min Jin. "A Study on Silk Full-Fashioned Weaving for Women’s Wear." Advanced Materials Research 175-176 (January 2011): 1035–39. http://dx.doi.org/10.4028/www.scientific.net/amr.175-176.1035.

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A thrust of the study is to compare different design principles for advanced creation of full-fashioned weaving. According to the present integrated design mode, three technical elements of weaving design have been identified in the course of creation, i.e. mixed yarns, integrated structures, and integrated patterns. The design process is the key to successful integrated design, including allocation of materials of warp and weft, different interlacing locations that suitable for clothing structures, and the method of patterning in the current CAD digital processing. The entire design mode is different from the previous laminar woven textile designs. Experiments have shown that, with the shapeable materials, the fine silk yarns are perfect to weave and mould the three dimensional dress for women. Besides, rich and novel textures can be embellished inherently on the surfaces of the full-fashion woven clothing. The expanded creative dimensions of woven textiles contributed an added value to silk products produced by current machines. Meanwhile the new features of Seamless Woven Fashion (SWF) further widened the creative scope of fashion design. The study has contributed to the future research and development of advanced woven textiles as the end products.
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Huang, Xin. "How Is Fashion Going: Structured Literature Review for Circular Economy in Fashion and Textile Industry." Frontiers in Business, Economics and Management 3, no. 3 (May 12, 2022): 114–18. http://dx.doi.org/10.54097/fbem.v3i3.358.

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In a time of global warming, sustainability claims are prevalent in the fashion and textile industry. Fashion industry is experiencing a shift from a linear economy to a circular economy. The circular economy shift in fashion textiles, however, has very many dilemmas due to the close connection with its value chain. This paper will take the form of a literature review to discuss the methods used in transforming the circular economy in fashion and textiles and the dilemmas it faces, as well as the social issues arising from the transformation, from the design to the distribution to the recycling of a fashion item.
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Cao, Fei, Jian Ping Shi, Xian Yan Liu, and Chang Sheng Zhang. "Modern Home Textiles Database Query System." Advanced Materials Research 175-176 (January 2011): 398–401. http://dx.doi.org/10.4028/www.scientific.net/amr.175-176.398.

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This study made a discussion of the exploitation and application of home textile bedding data-base design. The target is to closely follow the International Textile Fashion trend and to design a lot of world-class home textile bedding products. This article bases on the practicality of the textile bedding design. Database is divided into three modules: style classification database, design theme classification database and the processing technology database. In a comprehensive basis of market research, database is using VB programming language and Access database development tools. Because it has the function of flexible, quickly and accurately find the technical parameters, design styles and product styles and other related information of the processing. There are many descriptions, pictures, process technology and so on of home textiles bedding in the data-base. From the data-base, designers can easily inquiry the color, variety, fashion, style, function, process technology etc. Then, designers can exchange and innovation by using what they inquiry from the database. Through the innovation, home textile enterprises enhance the market competitiveness. It’s conducive to improve the overall development of textile industry by the data-base.
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Healy, Marley. "An Interview with Petra Slinkard Nancy B. Putnam Curator of Fashion and Textiles at the Peabody Essex Museum in Salem, Massachusetts." Fashion Studies 2, no. 2 (2019): 1–16. http://dx.doi.org/10.38055/fs020203.

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This article contains an interview with Petra Slinkard, the Nancy B. Putnam Curator of Fashion and Textiles at the Peabody Essex Museum in Salem, Massachusetts. Ms. Slinkard is the first to hold this position at the museum and has held it since February 2018. Prior to this, Ms. Slinkard was the Curator of Costume at the Chicago History Museum. She has a Bachelor of Science in Fashion Merchandising, a Bachelor of Arts in Art History, and a Master of Science in Fashion/Textile History. Over the course of almost ten years, leadership at the museum endeavored to create a plan that would mobilize its fashion and textile collection and reinvigorate its active collecting of fashion objects. This year, the museum opened a new wing that has allocated a specific venue for showcasing exhibitions dedicated to the exploration of its fashion collection. What follows are excerpts from a conversation between the author and the curator. Topics include the Fashion and Textile Collection at the Peabody Essex Museum, the new Fashion and Design Gallery, and the accessibility of the institution’s collection.
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Arikan, Cihat Okan, Samet Doğan, and Deja Muck. "Geometric Structures in Textile Design Made with 3D Printing." Tekstilec 65, no. 4 (January 5, 2023): 307–21. http://dx.doi.org/10.14502/tekstilec.65.2022092.

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3D printing is a well-known technology for producing 3D objects by depositing successive layers of material. Among its many applications, the fashion industry has taken advantage of this technology to revolutionize its brands. Due to the unique properties of textiles, such as comfort, flexibility, etc., attempts have been made to create textile-like structures. Structures with different geometries were designed and printed using different materials ranging from rigid to flexible. In this study, three different basic geometric structures were designed using the Blender program (a free open-source 3D modelling software). Each geometric structure was designed in two different sizes with smaller and larger basic structural elements. In this case, six different models were created. The aim of this study was to compare the textile-like surfaces of different basic geometric shapes produced with 3D printers. It also aimed to investigate the use of surfaces designed with basic geometric shapes in the textile-like material for fashion industries. In the production phase, the fused deposition modelling (FDM) process was chosen, and ABS and TPU materials were used. Various tests were performed, such as weight tests, and tensile and flexural strength tests on models with different basic geometric shapes and sizes. An examination of the test results showed that the different geometric shapes of the various basic structures and the different materials used have an overall effect on the final properties of the structures. It was concluded that the obtained results can be used as a reference and could be helpful for researchers in the use of 3D printers in the textile-like material and fashion material industries.
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Garbacz, Kamil, Lars Stagun, Sigrid Rotzler, Markus Semenec, and Malte von Krshiwoblozki. "Modular E-Textile Toolkit for Prototyping and Manufacturing." Proceedings 68, no. 1 (January 6, 2021): 5. http://dx.doi.org/10.3390/proceedings2021068005.

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We present a novel E-textiles toolkit that can be used in the rapid prototyping of electronic textiles during the research and evaluation phase. The modular, Arduino-compatible toolkit incorporates various sensors and control and communication modules. The needs of fashion professionals have been considered during the conception of the toolkit, which was developed in close cooperation with partners from textile research institutes, the textile industry, art schools and design. After the initial manual prototyping, the toolkit modules can be directly transferred to reliable industrial integration using advanced machinery. To achieve this, we developed the E-textile Bonder, a machine capable of mechanically and electrically connecting modules to textiles with integrated conductors. This paper gives an overview of the toolkit as well as the design considerations discussed and implemented during the cooperation with textile industry stakeholders. Furthermore, the integration process with the E-Textile Bonder is described, and its advantages over other technologies are discussed.
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Dissertations / Theses on the topic "Textile and Fashion Design"

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Nilsson, Linnéa. "Textile influence : exploring the role of textiles in the product design process." Licentiate thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3716.

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Textile materials and textile design are a part of countless products in our surroundings, as well as of diverse design fields and industries, with very different material traditions and working methods. Textile materials and industry have undergone many changes during recent decades, in terms of how and where textiles are produced, and what textiles can be and do; in much the same way, the design practices that textiles are involved in have also developed. What these diverse and evolving design contexts in which textiles are involved in have in common is that textile materials and textile design decisions somehow meet the rest of the design during a design process. The aim of this thesis is to add to our understanding of the relationship between textiles and products in the design process, and to explore the roles that textile design plays when designing textile products, the roles they can come to play when textiles become more complex and offer new means of functionality and expressiveness, for example through smart textile technology. This thesis presents two types of result: Firstly, descriptions of textile product design processes that highlight the wide range of roles that textiles can play in the textile product design processes of today, accentuate how textile materials and design decisions can influence both what can be designed and the design process, and describe some of the additional complexities that come with designing and designing with smart textiles. These examples are presented in the appended papers, and are the outcome of an observation of students who were designing textile products and collaborative, practice-based design research projects. Secondly, this thesis presents a theoretical framework which aims to offer a broad perspective on the relationship between textile design and the product design process, with the intention of opening up for reflection on how we design, and can design, with textiles. The framework focuses on how textile design decisions and textile materials participate in the process, and to what degree they influence the development of the design; this includes methods, questions, etc. that can be used to explore and define this dynamic. One of the main points of the framework is the importance of the textile influence in textile product design processes; the specific qualities of textiles as a design material - the considerations, possibilities, and challenges, which influence both the design of the product and the process of designing it. This includes not only the textiles in the final design, but also the textiles that, in other ways, feature in this process.
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Jansen, Barbara. "Composing over time, temporal patterns : in Textile Design." Doctoral thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3721.

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The work presented in this thesis investigates through practice a new field of textile design exploring the visual effects of moving light as a continuous time-based medium. Thereby, the textile design pattern reveals its composition, not in one moment of time any more, but in fact over time. The thesis consist of four parts: a solo exhibition at the Textile Museum in Borås from 17th February- 28th March 2015, five posters, an interactive thesis including 48 films (download file) and present thesis book. The artefacts displayed in the thesis show a varying range of examples which explore aesthetical possibilities of how light can be integrated as an active part into textile structures, ranging from weaving to braiding techniques, both hand crafted, as well as industrial produced. Thereby three main groups of experiments: colour flow, rhythm exercise, sound_light experiment explore and discuss a range of different time-based expressions. Thus define and establish relevant new design variables and notions, whilst working with time-based design processes. In the following descriptions of these experiments two forms of writing have been used to describe the experiments. One is purely descriptive, neutral form to describe the experiments as such, whereas text titled Research Diary Notes includes reflections and personal comments on the experiences during work on the experiments. The interactive thesis and the exhibited artefacts are an invitation to view new textiles expressions and are an initial guide on the road toward future time-based design works, particularly in the area of light emitting textiles.

Disputationen sker den 17:e mars 2015, kl. 10-12 i Textilmuséet, Textilhögskolan, Skaraborgsvägen 3, Borås. Opponent: Dr Nithikul Nimkulrat, Professor i textildesign, Head of Department of Textile Design, Estonian Academy of Arts.

Disputationen genomförs på engelska.

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Vuletich, Clara. "Transitionary textiles : a craft-based journey of textile design practice towards new values and roles for a sustainable fashion industry." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12402/.

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The current fashion textiles industry is based on an outdated, exploitative system that encourages fast consumption, generates huge amounts of textile waste, creates toxic impacts to ecosystems and causes significant social impacts to production workers. The move towards a more sustainable industry is a complex challenge and will be based on circular and social systems that prioritise values, collaboration and empathy for the environment and all stakeholders. This research defines the move towards a more sustainable fashion textiles industry as a transition that operates across environmental, social, and human domains. At the human level, the transition is an emergent process that involves both ‘inner’ and ‘outer’ dimensions (Maiteny & Reed 1988). For fashion textile designers, this process will demand new ways to practice and engage with the sustainability agenda, including the ‘outer’ dimensions of better materials or more ethical production models; and the ‘inner’, reflective dimensions of values and the self. This research proposes new roles for designers in these transitionary contexts, through craft-based fashion textile design practice. The practice projects presented in the thesis demonstrate three new roles that evolve through the sustainable design continuum to the highest level of Design for Social Equity (Manzini & Vezzoli 2008), where designers will support all stakeholders towards systemic, sustainable change. The practice projects reveal a collaborative and inter-disciplinary approach to fashion textile design practice in industry, local communities and the global supply chain. The research draws on a range of literature from sustainability theory, design/craft thinking, and psychology. The mixed methodology includes an action–research phase of collaborative practice projects, facilitation of workshops with designers in industry, and a reflective phase of textile making and writing. A model for the Transitionary Textile Designer is presented as a final outcome. In order for fashion textile designers to practice in transitionary contexts ‘beyond the swatch’, the research presents new methods and tools to connect individual values to social values inherent in the transition towards sustainability.
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Kim, Hye Eun. "Designing fashion with Qi energy." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1687/.

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This practice-led research explores the significance of Qi energy for fashion by materialising the East Asian culturally-specific concept of Qi. Qi features prominently in the traditional philosophy of everyday life in East Asia and my research aims to show how this philosophy can also provide an understanding of the relationship between body, garment and making, which is new to more Western concepts of fashion culture. This reflective journey unravels fashion practice in this context, focusing on the making process and the methods that were developed during that process. I engaged in significant handwork in the field of contemporary womenswear, integrating concepts of the body and garment as a circulatory system for Qi energy. It is the objective of this research to realise garments which help the understanding of Qi as a communication tool in relationships that arise in fashion, namely those that exist between the material and the maker during the making process, the body and the garment, and the wearer and the viewer. My research question originates from a desire to find a way to materialise Qi in garments through the making process. To pursue this, I explore a range of fields including anthropology, material culture, psychoanalysis, literature, cultural theory, and language. Apart from contextual studies, I adopted conversations and filming as methods to develop my research further. In practice, I investigate the meridians (as seaming which constructs garments), the finishing and the openings of the garment, all of which amount to a transitional interface. I view this as a concrete way of injecting Qi energy into the garment on a material level. I have reflected deeply on my making experience; this reflection has led the entire process and also given me a much better understanding of body and garment. Through my making process, aimed at materialising Qi in the garment, I essentially tried to establish a better connection between body and garment. This thesis oscillates between practice and theory. My research suggests Qi energy as a new perspective on fashion making; it offers a new understanding of the body in fashion and tries to fill the gap between practice and theory through embodied knowledge.
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Viziteu, Diana-Roxana, and Antonela Curteza. "3D printing technology in textile and fashion industry." Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/16807.

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This papers aims to explore the applicability of 3D printing materials using thermoplastic polyurethane (TPU) for the development of protective gear. In the fashion industry, three-dimensional (3D) printing has been used by designers and engineers to create everything from accessories to clothing, but only a few studies have investigated its applicability in personal protective equipment. One of the most significant technologies of the fourth industrial revolution is 3D printing. Additive manufacturing and 3D printing are the subject of intensive research and development (methods, materials, new techniques, application areas, etc.). The purpose of this study is to develop 3D printing samples and study conditions related to TPU.
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Kjolberg, Torunn. "Visual research practice in fashion and textile design higher education." Thesis, University of Brighton, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.643553.

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This thesis is concerned with visual research in the context of fashion and textile design education. Utilising an ethnographic methodology, this study followed a group of self-selected fashion and textile design students throughout their first two years of study at a higher education institution in the south of England. Drawing on a series of personal interviews, participant observation and analysis of course documents, the research examines how visual research practices are structured through teaching, student engagement and participation, as well as through various forms of reification. Two key theoretical perspectives inform this thesis: Lave and Wenger and Wenger's concepts of legitimate peripheral participation and communities of practice, and Winnicott's notions of transitional phenomena and object-use. Their mutual relevance and complementarity is considered to explicate the dynamic between subjectivity, materiality and the social world in this study. This thesis argues that the tacitness of visual research practices presents a problem for many learners, as confusion and self-doubt arise due to the lack of articulation and a perceived instability of meaning behind these processes. Meanwhile, the students' reconciliation of their own practices with those endorsed through teaching was identified as key to successful participation on the course. Whilst some students were able to navigate these ambiguities and, in Winnicott's sense, put them into use, for other students this entailed alignment of practices without mutual negotiation. Results were identities of non-participation or compliance without negotiation of meaning. Although the tacitness of visual research poses an obstacle, I conclude that a universal definition of visual research is problematic or even impossible. These practices are mutable, contextual and situated. Therefore, in this study, learning visual research entails participating on the course, which can be conceived of as a community of practice, and which acts (potentially) as a facilitating environment where students can put the sources, tools, materials and practices of visual research into use.
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Worth, Syd Graham. "Textile design consultancy in the U.K. : a study of a small group of textile design consultants working in the U.K." Thesis, Manchester Metropolitan University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267443.

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CHENG, JOHN PEIJON. "HOME FASHION: A CONCEPT OF CREATING HOME FURNISHING PRODUCTS USING FASHION THEORY AND DESIGN PROCESS." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1052937178.

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Barbosa, Ana Cecilia. "Embodied self-expression through textile design." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23190.

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Motivated by studies of dress and the importance that it has on identity formation and expression of self, this research tries to answer the question of how can an interactive tool create greater means for self-expression of the dressed body through the design of textiles? The goal of pursuing the question is to ultimately promote a more sustainable fashion culture that relies on the creation of long-lasting products. Employing Research through Design as the main methodology, this research went through a series of sequential design experiments – namely workshops and prototypes – with the ambition of generating knowledge in the context of the design space, and in order to inform the design of the interactive tool proposed by the research question. The main research findings suggest that the direct engagement with the painting of textiles through ruled self-reflection tasks, in collaboration with a machine, provides great means for the creation of long-lasting products – showing, therefore, a fruitful path towards fashion sustainability. In addition to the conception and building of a final artifact, this research resulted in a set of guidelines that aims at advising the creation of other future artifacts.
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Fletcher, Kate Tanya. "Environmental improvement by design : an investigation of the UK textile industry." Thesis, Open University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300241.

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Books on the topic "Textile and Fashion Design"

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A, Parmal Pamela, ed. Textile & fashion arts. Boston: MFA Publications, 2006.

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Textiles and fashion. Lausanne: AVA Academia, 2008.

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Textile futures: Fashion, design and technology. Oxford: Berg, 2010.

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Marie, O'Mahony, ed. Techno textiles: Revolutionary fabrics for fashion and design. New York: Thames and Hudson, 1998.

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Luther, Cameron. Career in textile & fashion designing. Chandigarh: Abhishek Publications, 2008.

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Constance, Korosec, ed. Fashion fabrics 1960s. Atglen, PA: Schiffer Pub., 1998.

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Park, Honey. The future ethereal in fashion textile: MA Textile Design 2003. London: Central Saint Martins College of Art & Design, 2003.

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Oy, Marimekko, and Bard Graduate Center: Decorative Arts, Design History, Material Culture, eds. Marimekko: Fashion and design. Helsinki: Designmuseo, 2010.

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Braddock, Sarah. Techno textiles: Revolutionary fabrics for fashion and design. [London]: Thames and Hudson, 1998.

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Daniel, Tribouillard, Privat-Savigny Maria-Anne, and Musée des arts décoratifs et des tissus (Lyon, France), eds. Leonard, fashion impressions. Lyons: Lieux Dits, 2006.

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Book chapters on the topic "Textile and Fashion Design"

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Senthil Kumar, P., P. R. Yaashikaa, and C. Femina Carolin. "Sustainability in Textile Design." In Sustainable Design in Textiles and Fashion, 39–51. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-2466-7_3.

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Seixas, Sónia, Gianni Montagna, and Maria João Félix. "Materials Matters in Textile and Fashion Design Education." In Advances in Industrial Design, 681–88. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80829-7_84.

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Birchler, Arienne. "Design de mode et de textiles Mode- und Textildesign Fashion and textile design." In Bourses fédérales de design Eidgenössische Förderpreise für Design Swiss Federal Design Grants 2007, 53–61. Basel: Birkhäuser Basel, 2008. http://dx.doi.org/10.1007/978-3-7643-8450-0_4.

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Freire, Karine. "Strategic Design for Social Innovation In The Fashion System: The Sustainable Fashion Ecosystem Case." In Textile Science and Clothing Technology, 87–103. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1850-5_5.

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Seixas, Sónia, Gianni Montagna, and Maria João Félix. "Weaving the Skills of the Textile Designer as a Contribution to the Construction of a Textile Ecosystem of the Future." In Advances in Fashion and Design Research, 505–17. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-16773-7_43.

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do Vale, Cleonisia Alves Rodrigues, Ana Cristina Broega, and Gianni Montagna. "Explorations About Textile Artisan Practices in the Minho Region." In Advances in Fashion and Design Research, 183–91. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-16773-7_16.

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Oliveira, Manoella, Joana Cunha, and Isabel Cabral. "ARTILES – Augmented Reality in Textile Patterns Inspired by Portuguese Tiles." In Advances in Fashion and Design Research, 779–91. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-16773-7_67.

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de Paula Azambuja, Patricia, and António Marques. "Rethinking Textile Disposal: Reuse of Denim for New Product Development." In Advances in Fashion and Design Research, 633–41. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-16773-7_53.

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Eckert, Claudia. "Design for Values in the Fashion and Textile Industry." In Handbook of Ethics, Values, and Technological Design, 1–20. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-6994-6_37-1.

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Pal, Rudrajeet. "Sustainable Design and Business Models in Textile and Fashion Industry." In Textile Science and Clothing Technology, 109–38. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-2639-3_6.

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Conference papers on the topic "Textile and Fashion Design"

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Santos, Gabriela, and Cristina Carvalho. "Ergonomic Fashion Design: Sustainable Dyes." In Applied Human Factors and Ergonomics Conference. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001318.

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Water waste, contamination, and fossil fuel generated energy are acknowledged issues within the textile industry. Current dyeing processes pose serious threat to the environment and human health, often associated with toxic and carcinogenic substances that are released into the environment, through effluents not conveniently treated before being discharged into natural waters. Besides print and pattern, consumers demand for basic characteristics in textiles – these must resist to agents that cause colours to fade. On the other hand, industry must provide a great range of colours and access to huge quantities of coloured substance to dye. Simultaneously, it must be cost-effective. Natural dyes are perceived as less harmful for the environment due to its biodegradable nature. Studies reveal certain natural dyes possess UVR protection properties, as well as antimicrobial and anti-inflammatory assets. Nevertheless, depending on the nature of the dye, there are many advantages and disadvantages to consider.Through an extensive study on various fields such as Biotechnology, History, Ethnography, Biology, Archaeology, amongst many others we gathered information regarding natural coloured compounds, colour sources (plants, animals and microorganisms), ancient and modern techniques of extraction and application. This study shows the evolution of dyes throughout the centuries. It also reveals that the revival of natural dyes in addiction to new cutting edge technologies such as biotechnology might allow for an industrial feasibility.
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Guedes, Graça, and Andreana Buest. "Technology-Based Tools for an Online, a Collaborative Learning Experience in Fashion Design." In 20th AUTEX World Textile Conference - Unfolding the future. Switzerland: Trans Tech Publications Ltd, 2022. http://dx.doi.org/10.4028/p-774k4x.

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This paper analyses the results obtained from an online learning experience, in which fashion professionals and students were invited to explore and use a set of technology-based tools to develop their projects. It was expected that these tools and resources would potentiate and create a contextualized online learning experience in fashion design, helping learners to think and learn with each other, to bring ideas to life while interacting with data and information that were made available to them. A set of tools and resources were researched, identified, and allocated with specific fashion-design tasks. Participants were then asked to resolve these tasks resorting to the tools and resources presented and exploring beyond them, experimenting with potential uses in fashion design projects. The aim was also to understand if learners would acknowledge their potential to create a learning community, through connectivity and shared goals, helping them to develop their projects and stimulating reflective-thinking and self-determined capabilities, needed in the fashion professional environment. The results demonstrated that although learners recognised the potentiality of these tools for their fashion design projects, by convenience or lack of technological skills, they resorted to traditional methods of developing and communicating their projects. The results also demonstrated that like any technology adopted for educational purposes in the past, technologies-based tools, collaborative and mobile technologies require a further discussion about their limitations and potentialities and further experimentation by the fashion design sector.
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Pina, Liliana, José Lucas, Paulo Duarte, Paulo Martins, and Rui Miguel. "A Viewpoint on Inclusive Design towards Portuguese Fashion Designers and Brands." In 20th AUTEX World Textile Conference - Unfolding the future. Switzerland: Trans Tech Publications Ltd, 2022. http://dx.doi.org/10.4028/p-i6g26f.

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Some fashion brands and designers have been developing services and products in the last decade taking similarly, into consideration consumers that have some disability. Knowing that visual communication of a brand itself is not possible with unsighted consumers, it is necessary and relevant to investigate how consumers can create an emotional attachment with fashion brands. This paper aims to analyze the inclusive design approach and methods. Attending to the following question of investigation, “how visually impaired consumers are able to create an emotional relationship with fashion brands” the methodology for this paper is based on a mixed methodology. The literature review is based on scientific papers, informative articles, books, and report analysis. Regardless of the product or services, clothing brands established in Portugal usually do not have an inclusive approach. A set of hypotheses were formulated from the literature review analysis, which will be further tested using the data collected. It was not possible to set up the empirical study winch will be carried out in the future. This study will be of added value to guide future investigations and endorse the possible future success of fashion brands and designers in Portugal in the field of accessibility and inclusive design.
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Melo, Beatrice, Thiago Beresford, and Ana Cristina Broega. "Fashion Design and Production through the Social Economy Lens: Contributions and Challenges for a Holistic Approach." In 20th AUTEX World Textile Conference - Unfolding the future. Switzerland: Trans Tech Publications Ltd, 2022. http://dx.doi.org/10.4028/p-29ub74.

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The growing environmental crisis and the proliferation of social inequality, with affective ties to the movements of predatory neoliberal globalization, desperately claim for the constitution of a truly sustainable future. To this end, it is essential to implement ethical, empathic, and cooperative behaviors and the reorientation of the market to consider the coexistence of human beings with nature in harmony. In this context, the global fashion system, characterized by mass production, low cost, and promoting excessive disposable consumption, devalues the natural diversity of the biosphere - from the extraction of raw materials to waste produced in the post-consumption - and contributes, directly and exponentially, to aggravate social inequalities and fracture, increasingly, the imbalance of ecosystems. The concept and practices of the Circular Economy have often been addressed to implement a sustainable production chain; however, it still neglects the social and cultural dimensions. Founded on the fashion production chain processes and their impacts on the lives of those who manufacture garments, on the community and environment in which we live, the purpose of this article is to present a sustainable model for designing and manufacturing fashion products. Social Economy values such as the social development of the people and communities involved, holistic development of the human being, diffusion of feelings of cooperation, respect, solidarity, and commitment, and, above all, ethical behaviors are the groundwork of this study. This framework absorbs characteristics of the Social Economy in the fashion industry and values sustainable human development supported by educational programs for workers, socially responsible sewing workshops, collaborative design, recognition of local knowledge, and social entrepreneurship. Furthermore, this model will empower the wage-earner community that produces fashion by participating in the design and development of apparel products. The methodology used included a literature review and analysis of reports; after identifying critical points of Social Economy theories, this study aims to provide a fairer model for developing products oriented towards the humanization of productive relations, transparency, and sustainability. Despite including SE's humanistic components to fulfill the CE's social gaps, this plan for Social Circularity can only overcome a few of the recurrent problems in fashion production. Standing as an in-progress framework requires both validation and deepening of socio-ecological aspects in implementing a holistic economy in its total multidimensionality.
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Guedes, Graça, Aline Guimarães Fernandes, and António Dinis Marques. "The Fashion and the City: Porto Case Study." In 20th AUTEX World Textile Conference - Unfolding the future. Switzerland: Trans Tech Publications Ltd, 2022. http://dx.doi.org/10.4028/p-aepg82.

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Fashion, as a simultaneously cultural and global phenomenon, has become an attractive factor in many cities, particularly the large metropolises where it assumes a prominent role, as in Paris, London, Milan, or New York. In countries where fashion does not assume notoriety and global prestige, there is an emergence of fashion movements more associated with local cultural characteristics, which are used by fashion designers as sources of inspiration and differentiation.In major cities, world-renowned designers and brands take on recognized importance, and the attractiveness that fashion districts have on visitors is notorious. In smaller cities, however, generally associated with cultural and artistic heritage, fashion appears in some places as a specific offer, marked by originality and differentiation of historical roots or inspired by local culture. The interest in fashion, in general, leads the management of territories to associate the local dynamics of fashion creation with shopping tourism, creating specific itineraries and infrastructures, in an attempt to follow the example of the big cities and, thus, develop the fashion business by increasing the reasons of interest to visitors.The study aims to analyse the dynamics of development of the fashion business in medium-sized cities with strong tourist attractiveness, to design a territory management model that maximizes the notoriety of local fashion, and stimulates economic activities directly and indirectly related to fashion.
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Čuk, Marjeta, Matejka Bizjak, Deja Muck, and Tanja Nuša Kočevar. "3D printing and functionalization of textiles." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p56.

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3D printing is used to produce individual objects or to print on different substrates to produce multi-component products. In the textile industry, we encounter various 3D printing technologies in fashion design, functional apparel manufacturing (protective, military, sports, etc.), including wearable electronics, where textile material is functionalized. 3D printing enables the personalization of the product, which in the apparel industry can be transformed into the production of clothing or parts of clothing or custom accessories. Additive technology allows a more rational use of the material than traditional technologies. In the textile industry we meet different uses of it, one is the printing of flexible structures based on rigid materials, another is the printing with flexible materials and the third is the printing directly on textile substrate. All rigid, hard and soft or flexible materials can be integrated into the final design using 3D printing directly on the textile substrate. We speak of so-called multi-material objects and systems, which have many advantages, mainly in the increasing customization and functionalization of textiles or clothing. The article gives a broader overview of 3D printing on textiles and focuses mainly on the influence of different parameters of printing and woven fabric properties on the adhesion of 3D printed objects on the textile substrate. In our research we investigated the influence of twill weave and its derivate as well as different weft densities of the woven fabric on the adhesion of printed objects on textile substrate. Therefore, five samples of twill polyester/cotton fabrics were woven and their physical properties measured for this research. 3D objects were printed on textile substrates using the extrusion based additive manufacturing technique with polylactic acid (PLA) filament. Preliminary tests were carried out to define printing parameters and different methods of attaching the fabric to a printing bed were tested. T - Peel adhesion tests were performed on the Instron dynamometer to measure the adhesion between 3D printed objects and textile substrates.
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Lam, Artde Donald Kin-Tak. "A study on fractal patterns for the textile design of the fashion design." In 2017 International Conference on Applied System Innovation (ICASI). IEEE, 2017. http://dx.doi.org/10.1109/icasi.2017.7988605.

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Marques, Susana, Liliana Pina, José Lucas, Paulo Duarte, Rui Miguel, and Álvaro Sampaio. "Designing Textile Surfaces through Additive Manufacturing for Unsighted Individuals." In 20th AUTEX World Textile Conference - Unfolding the future. Switzerland: Trans Tech Publications Ltd, 2022. http://dx.doi.org/10.4028/p-68tc6p.

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This paper aims to discuss the use of Additive Manufacturing (AM) to produce textile samples. The goal is to explore different possibilities in the creation of different stimuli regarding textures and scents coming from the application of different types of filaments on different textile surfaces, with different weights and compositions. Considering the application of this technology in fashion products, particularly on clothing, the different textile samples developed, will be evaluated by visually impaired (VI) individuals on further empirical studies. Since unsighted individuals are regarded as more sensitive to tactile and olfactory experiences, it is important to understand their perception regarding AM acceptance. Having into account the perspective of fashion design towards inclusivity, the availability of different sensory inputs in common fashion brands could improve the relationship between visually impaired (VI) consumers and fashion brands. This paper fills the gap in the literature regarding unsighted individuals and their experiences with clothing, especially those using AM technology. Keywords: Additive Manufacturing; textile surfaces; visually impaired individuals;
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Bicho, Marta, Maria Madalena Pereira, Rui Miguel, and Nuno Belino. "Fashion design and fashion technology courses: Practical skills in patterns making, garment manufacturing techniques, technologies, and applications for fashion industry." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001540.

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In higher education of national and international courses, there appear the designation Fashion Design, Fashion Technology, and the techniques of pattern making and garment manufacturing which are not always associated in the same curricular unit. The practical skills associated with these two techniques are complementary in fashion product development; but the separation or the failure of interaction between them in the past, contributed to the deficiencies in the validation of the fashion product in the learning phase and in many cases, they present deficiencies in the transfer of knowledge to the labor market. The type of textile and clothing industry differs from country to country, in Portugal it is still essentially based on exporting companies, accounting for 10% of the national exports, where the profile of the professional required is mainly for product development, with skills in techniques, materials and market. In other countries, the profile is adapted for departments, from the creation and development of collections for fashion brands, product development, market, global and local sourcing, among others, result of the evolution that the sector had in the last 20 years, after the multifiber agreement and with the relocation of production to countries with cheaper labor. However, the textile and clothing sector, although belonging to the same chain differ from each other, capital intensive versus labor intensive. The objective of this investigation is to answer a main question: What competences, from a practical point of view, are necessary for the Portuguese garment exporting industry in graduate students specialized in fashion design and fashion technology? The objective is to know what practical skills the Portuguese clothing exporting industry needs, as well as the necessary relationship between the various techniques in the learning phase that contribute to the development of a value-added fashion product. To answer this question, a program of visits/ classes in companies was developed with students in the fashion design specialization, to sensitive them of the needs of the industry and was developed a program of collaboration between two curricular units: pattern making and garment manufacturing. A practical lesson plan for two curricular units was developed for two groups of 25 students. Were also interviewed 10 entrepreneurs from the sector, about their needs and deficiencies in terms of qualified staff in the area. It is concluded that, after contact with companies in the sector and in a classroom model in the company, students show changes in behavior regarding the commitment and acquisition of technical skills. The interconnection between the two curricular units also allowed students to validate the results of their practical work, in the image of industrial model. It is also concluded that the contribution of teachers with recent experience in the clothing industry is essential in the contribution of student’s acquisition of skills to the labor market of the Portuguese clothing industry.
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Bruna, Marconi, and Ana Cristina Broega. "Circular Business Model, Sustainable Alternative for the Portuguese Textile Sector - Case Studies." In 20th AUTEX World Textile Conference - Unfolding the future. Switzerland: Trans Tech Publications Ltd, 2022. http://dx.doi.org/10.4028/p-b5f746.

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The movements favoring sustainability have required new business models with innovative, disruptive, and decentralized characteristics. As the fashion industry is one of the main responsible for environmental pollution and scandals of an ethical nature, nothing will change if the linear production system maintains. Although awareness and research on sustainable fashion have increased significantly over the past decade, the question remains how to integrate the concept of sustainability into the fashion design process or how well-established companies can do the transition to a sustainable model or system. Therefore, this study aims to map and analyse "sustainable business models" based on the State of the Art and through a Portuguese textile company's case study to understand the challenges for implementing products' circularity.
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Reports on the topic "Textile and Fashion Design"

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Plummer, Brianna, Eulanda A. Sanders, and Fatma Baytar. Developing a Trend Analysis Instrument to Establish a Taxonomy of Digital Textile Printing Attributes for Costume and Theatrical Fashion Design Use. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1899.

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Jablon-Roberts, Sara. Teaching Textile Design to Merchandising Students. Ames (Iowa): Iowa State University. Library, January 2019. http://dx.doi.org/10.31274/itaa.8406.

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Watson, David, Anja Charlotte Gylling, Maria Elander, Jurate Miliute-Plepiene, and Mikkel Stenbæk Hansen. Inclusion of Nordic textile and fashion work within the UN One Planet network. Nordic Council of Ministers, February 2019. http://dx.doi.org/10.6027/na2019-902.

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Wei, Bingyue. Sustainable Fashion Development: Applying Transformational Design. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-269.

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Wei, Bingyue, and Mary Ruppert-Stroescu. Sustainable Fashion Development: Applying Transformational Design. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-290.

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Alexander, Theresa. Embroidery and Beading Design for Fashion. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-440.

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An, Hyosun, and Inseong Lee. An Approach to Sensibility Design in Fashion. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-1094.

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MacDonald, Nora M. Using Assessment in the Fashion Design Studio. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-765.

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Lapolla, Kendra, Jaclyn Gordyan, and Brian Lapolla. Critiquing Design Aesthetics in Collaborative Fashion Creation: Design Conversations with a Fashion Designer, an Architect, and Art Director. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-901.

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Lapolla, Kendra, and Jihyun Kim. Fashion Design Students as "Thrift Mavens": An Interpretive Approach to How Fashion Design Students Can Influence Thrift Shopping. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-112.

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