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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PORSE, MOA. "Is Sweden Ready to Implement a Textile Recycling System?" Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17697.
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: It is problematic from an environmental point of view when consumers have damaged or worn out textiles and need to dispose of them (Domina and Koch, 2002). Domina and Koch (2002) explain that unwanted consumer textiles that are not suited for donation to charity organizations, are simply thrown into the trash. Textiles are nearly 100 percent recyclable and according to Hawley (2006), nothing in the textile and apparel industry consequently should be wasted. It will be a major positive impact on the environment if we can reduce the amounts of textile waste through recycling. In addition, recycling will reduce the emissions arising from new manufacturing by making use of existing resources (Naturvårdsverket, 2013). Recycling signifies any recovery operation by which waste materials are re-processed into products, materials or substances (Tojo., et al. 2012). It is an ecosystem-inspired design approach where all waste from one component of the system becomes food for another (Fletcher, 2008). There is currently no large scale recycling of textiles in Sweden, nor is there any major export for recycling of Swedish textiles (Palm, 2011). But Swedish producers and retailers have started to consider the value of re- establishing a recycling plant within the country (Tojo et al., 2012). The future market of the textile industry faces an inevitable challenge. It is important to find materials that could replace the large amount of cotton used today and find solutions on how to produce synthetic fiber without increasing the yield of oil (Sandow, 2012). In addition, Consequently, there might be a greater demand for recycled textile fibers in the future. However, the issue of the implementation of a textile recycling system in Sweden is complex with many aspects to take into account. The aim for this report was to explore the areas of research in textile recycling, and by dint of seven experts, determine whether or not Sweden should implement a textile recycling system, and how that should be done. The essential factors for implementing a textile recycling system in Sweden was concluded to be: environmentally sustainable growth, better technology and chemistry, consumer responsibility, producer responsibility, supply of textiles for recycling, demand for recycled fibers, facilitating the voluntary organizations (optimizing reuse), pricing and profitability, sustainable and economical logistics, supporting policies, sustainable products that are easy to recycle, global collaborations. It was concluded that Sweden should implement a textile recycling system. The initial phase of the system (within ten years) should be to establish collecting arrangement for textiles in all conditions. The discarded textiles should be sorted in Sweden and exported for recycling. If the textile industry will shift to having a near-sourcing strategy and if synthetic cellulose fibers will revive the Swedish textile industry, Sweden could benefit from having a complete recycling system within 20 years.Program: Applied Textile Management
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Correia, Bárbara Loução. "Reflexões de estágio na Unis Textile Design Studio." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2021. http://hdl.handle.net/10400.5/22750.
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Ballie, Jennifer. "e-Co-Textile Design : how can textile design and making, combined with social media tools, achieve a more sustainable fast fashion future?" Thesis, University of the Arts London, 2014. http://ualresearchonline.arts.ac.uk/7789/.
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This research acknowledges that the convenience of fast fashion has shifted dependence on skills such as dressmaking, repairing and altering, passed from one generation to the next. Because of the accessible and affordable nature of mass manufacture the consumer is becoming less active within the design, production and maintenance of their clothing. This research proposes to up-skill consumers and intercepts their flow of fast fashion consumption using textile design interventions. These explore how textile design processes can be combined with social media tools to support a renaissance of making through four different concepts to empower consumer participation. The Textile Design Interventions demonstrate accessible processes of making and aim to broaden engagement. The democratic ethos of the interventions also enables agency to evolve beyond orchestrated interactions. Through evaluating the process of designing, developing and demonstrating textile design interventions a new proposition emerged titled ‘e-Co-Textile Design’. This model demonstrates how social and digital media can provide a vehicle for textile designers to facilitate participatory experiences. Fast fashion, both in terms of the product and activity, challenges the concept of sustainability. This research positions textile design interventions from outside the fashion system as a means of achieving more sustainable consumer activity, through longer-term consideration and connectivity toward fast fashion purchases. This is achieved by making accessible new-found skills and resources via social media. Future research requires a longitudinal study to evaluate the impact from the consumer’s perspective.
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Finn, Angela L. "Fashion manufacturing in New Zealand : can design contribute to a sustainable fashion Industry?" Thesis, Auckland University of Technology, 2008. https://eprints.qut.edu.au/31512/1/c31512.pdf.
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In the late 1990s New Zealand fashion gained some international recognition for its dark edginess and intellectual connection due to its colonial past (Molloy, 2004). In the years since, this momentum seems to have dissipated as local fashion companies have followed a global trend towards inexpensive off shore manufacturing. The transfer of the making of garments to overseas workers appears to have resulted in a local fashion scene where many garments look the same in style, colour, cut and
fit. The excitement of the past, where the majority of fashion designers established their own individuality through the cut and shape of the garments that they produced, may have been inadvertently lost. Consequently a sustainable New Zealand fashion and manufacturing industry, with design integrity, seems further out of reach. The
first question posed by this research project is, ‘can the design and manufacture of a fashion garment, bearing in mind certain economic and practical restrictions at its
inception, result in the development of a distinctive ‘look’ or ‘handwriting’?’ Second,
through development of a collection of prototypes, can potential garments be created to be sustainably manufactured in New Zealand?
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Meyer, Kendra Louise. "Creativity in Repurposing Textiles." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1288110244.
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Fenton-Douglas, Joyce. "From hand craft to digital technology : a practice-based material culture analysis of the historical and contemporary ancillary trades of the London élite fashion industry." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8922/.
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The ancillary trades of the London based élite fashion industry are the focus of this practice-based research, which is founded in material culture studies. Hitherto these trades have not been the subject of any in depth scholarly work, and therefore this thesis seeks to make a contribution to knowledge by assessing and documenting their historical and contemporary application and significance; by examining and assessing the potential of laser technology to those trades that are concerned with embellishment; and by developing and applying a material culture framework to the execution and analysis of practice. The ancillary trades serve the material production of luxury fashion through the small scale, bespoke manufacturing of items such as artificial flowers and buttons; and the provision of specialist finishes such as bead-work, embroidery and pleating. These trades have developed little over the last century or more and most still involve varying degrees of skilled hand-making processes; but while their French counterparts are widely recognised as crafts, they remain an entity to which scant attention has been paid in assessments of either élite British fashion or of the crafts in Britain. Through a series of material culture analyses this research critically evaluates these trades, examining their contribution to the necessary distinction of historical and contemporary élite fashionable dress, and investigating the making practices and wider circumstances of key trades and practitioners. The contextual research not only situates the empirical practice-based case study in the field of interest but also is significant in informing the aesthetics and techniques invoked in practice. The potential of laser technology is investigated in the production of items of embellishment, alternatives to the more ubiquitous sequins, beads and faux jewels. Presented and critically evaluated within the thesis, the outcomes, a series of embellished textile proposals for the élite fashion industry, are hybrids of industrial process and hand-making techniques. Artefacts are central to this research. The interdisciplinary material culture theory and method of Jules David Prown, foregrounding the artefact as a repository of information, has been adopted for the contextual research and further developed in relation to the analysis of the objects that inform practice, while the outcomes of practice serve as material mnemonics in the retrieval of the intimacies of the making process. Referring to a range of associated literature, archival research and interview findings, the outcomes of the ancillary trades and of practice are examined in the aesthetic, cultural, technological, and socio-economic circumstances of their production and consumption.
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Cho, Hsin-Ying. "A study of 'Tree of Life' patterns for the fashion textile industry in Taiwan." Thesis, University of Manchester, 2010. https://www.research.manchester.ac.uk/portal/en/theses/a-study-of-tree-of-life-patterns-for-the-fashion-textile-industry-in-taiwan(eaefcd6f-b8fc-416b-ad91-924b26ebd889).html.
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Patterns from the past have frequently been a source of creative ideas for fashion textiles. Culturally-inspired fashion products reflect traditional beauty, cultural identity, and national image, and preserve national cultural heritage (Perivoliotis, 2005; Hyun and Bae, 2007; Cho, 2009). The 'Tree of Life' or, as it is sometimes known, the 'Flower of Life', is a motif used to express ideas about immortality and the origins of life. As such, this motif has been an important element of traditional art and craft, frequently being incorporated into traditional textiles. The findings of Chinese interviews show that tree worship is still important, as are 'Tree of Life' patterns in China. Chinese 'Tree of Life' patterns are associated with fertility worship, longevity (long life) and immortality (eternal life). The review of literature and the findings from Taiwanese interviews indicate that elements of traditional Chinese patterns are suitable use in modern fashion, because Chinese imagery is a rich source of inspiration for contemporary textile designs, and China chic is pervasive in today's fashion. Exploring the relevance of the 'Tree of Life' pattern for the Taiwanese market, it was found that Taiwanese customers would be happy to see traditionally patterned designs of textile or clothing. This was felt to be important for the Taiwanese textile and fashion industry, which is currently in a state of change as it becomes design-focused rather than purely manufacturing-led. With fieldwork carried out in both China and Taiwan, and an investigation into the design process, the research concludes that the 'Tree of Life' can be re-created and adapted in different ways for fashion textile designs for the Taiwanese market. In addition, a model of a new design process for reinterpreting traditional patterns into contemporary ones is proposed. University students and designers can apply this design process model to any textile design project based on traditional patterns.
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King, Julie. "Colour forecasting : an investigation into how its development and use impacts on accuracy." Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/5657/.
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Colour forecasting is a sector of trend forecasting which is arguably the most important link in the product development process, yet little is known about it, the methodology behind its development or its accuracy. It is part of a global trend forecasting industry valued recently at $36bn, providing information which is developed commercially eighteen months to two years ahead of the season. Used throughout the garment supply chain, by the yarn and fibre manufacturers, the fabric mills, garment designers and retailers, it plays a pivotal role in the fashion and textile industry, but appears in many different forms. Colour forecasts were first commercially produced in 1917, but became more widely used during the 1970s, and in recent years digital versions of colour forecasts have become increasingly popular. The investigation aimed to establish the historical background of the industry, mindful of the considerable changes to fashion manufacturing and retailing in recent decades. For the purposes of the investigation, a period spanning 25 years was selected, from 1985 to 2010. In reviewing the available literature, and the methodologies currently used in developing forecasting information, it became clear that there was a view that the process is very intuitive, and thus a lack of in depth academic literature. This necessitated a considerable quantity of primary research in order to fill the gaps in the knowledge regarding the development, use and accuracy of colour forecasting. A mixed method approach to primary research was required to answer the aim of the thesis, namely to investigate how colour forecasts are compiled, and examine their use, influence and accuracy within the fashion and textiles industry, suggesting methods for developing more accurate forecasts in the future. Interviews were conducted with industry practitioners comprising forecasters, designers and retailers to better understand how colour was developed and used within industry. Two longitudinal studies were carried out with the two largest UK clothing retailers to map their development and use of colour palettes, and understand better how colour contributes to the critical path and supply chain. Two colour development meetings were observed, one with a commercial colour forecaster, the other with an industry association, and two colour archives were studied to establish whether or not any identifiable and predictable colour cycles existed. Data from the interviews and longitudinal studies were analysed using a grounded approach, and revealed some new insights into the influences upon the development of colour forecasts both commercially and from the retailer's perspective. The sell through rates of merchandise, EPOS analysis and range of practices between those interviewed and the two retailers studied provided an interesting insight into working practices and how colour forecasting information is changed when used by the retailers. It was found that a group of core colours existed, which were used season after season, and consistently demonstrated a high sell through rate, such as black, white, grey and navy. In order to establish whether or not colour cycles were consistently predictable in their repetition, two colour forecasting archives were assessed. If predictable colour cycles existed, they would be a useful tool in developing more accurate forecasts. Unfortunately this was not the case, as no clear colour cycles were found. However, the archive, together with evidence from the retailers demonstrated the 'lifecycle' of fashion colours was longer than expected, as they took time to phase in and out. It was concluded that in general the less fashion led brands used their own signature colours and were able to develop colour palettes far later in the product development timeline. This approach could be adopted more widely by retailers and designers as it was discovered that although accuracy rates for colour forecasts are generally accepted to be around 80%, the commercial forecasters provide colour update cards closer to the season where at least 40% of the colours are changed. Very early information, two years ahead of the season is no longer necessary in the contemporary fashion and textiles industry.
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Ljungdahl, Sarah. "smock x knit : Exploring the possibility of shape in knitwear by looking at theaesthetic properties of smocking, drawing inspiration from sportswear." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-14890.
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Since late eighteenth century smocking has been a part of different fields of fashion. From agricultural clothing and swimsuits, and also inspiring architecture. The approach of smocking has always been to tighten the fabric against the body. This work will challenging this by exploring the possibility to build form with smocking on the body, placing it in the context of personas on a winter vacation. By extracting elements of the smocking and sketching directly in the knitting machine using different techniques and yarn with contrasting characteristics, the ambition has been to translate aesthetic aspects of smocking via volume, pattern, material and colour into knitted material, targeting a sporty silhouette and expression. The result show an alternative way to bout fabricate and view the smocking. By letting the technique build form, placing it in a sports context suggest that smocking no longer is a technique solely for romantic dresses.
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ADNAN, ALI MUHAMMAD, and SARWAR MUHAMMAD IMRAN. "Sustainable and Environmental freindly fibers in Textile Fashion (A Study of Organic Cotton and Bamboo Fibers)." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20137.
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In recent times sustainability is a leading characteristic of textile fashion products. Textile fashion companies are focusing more on sustainable products these days, so that they can meet the environmental and social aspects. For getting competitive advantage in fashion business the companies have to take care of social, political and economical issues, and they must be aware of current trends of the market. Sustainable fibres provide solution for the companies facing issues regarding environmental problems; these fibres are also favorable to meet the market demands of quality products these days. The main objective of this report is to use the sustainable materials in fashion garments; the report contains rich information about two natural sustainable fibres (organic cotton and Bamboo), that describes the brief history, biography, development, processing, application and uses of these fibres. This report briefly describes the advantages and disadvantages of these fibres and underlines the usage of these fibres by famous designers, and by many top brands and fashion companies for their competitive advantage and brand image. The report highlights the potentials of using these materials in textile fashion products and describes that high fashion and quality products can be made by these products to guarantee the environmental and social standardsProgram: Magisterutbildning i Applied Textile Management
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Birk, Valerie J. "Using Surrealism to create screen printed textile designs for a clothing line." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1136697.
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The purpose of this creative project was to create a functional and aesthetically pleasing line of garments. The goals of this project were to: 1) produce three textile designs (motifs), 2) screen print the textile designs on fabric, and 3) design and construct a functional/aesthetically pleasing garment line using the three original textile motifs. There were several processes involved in creating the end result. The processes involved in this project were designing a motif for fabric, screen printing the designs on to the fabric, and designing and constructing the clothing line.The work of three artists from the Surrealism movement in art history were used as a source of inspiration for designing the motifs printed on the fabric. The three artists were Joan Miro, Salvador Dali and Max Ernst.The images of the motifs were first sketched and redrawn on the MicroDesign I Cad system. The motifs were printed on 100% cotton using the stencil process in screen printing. Five alternating colors were used to print the three different images. After the fabric was printed, three garment designs were created to be constructed using the new fabric. The patterns for the garments were created using the draping method for pattern making.The results of the project were favorable. The fun spirited motifs represented the feel of the Surrealist movement. The completed garments looked like the original illustrations. Although much was achieved through this project, it far exceeded the time expectations for completion.Department of Family and Consumer Sciences
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Shercliff, Emma. "Articulating stitch : skilful hand-stitching as personal, social and cultural experience." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1693/.
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This practice-led PhD research explores the nature of embodied knowledge acquired and practised through the rhythms and patterns of hand-stitching processes, such as embroidery, plain sewing and patchwork quilting, undertaken by individuals alone and in dedicated groups as recreational craft, artistic expression and social life. The scale and pace of hand-stitching match those of the body, grounding cognitive and emotional experience in a tangible process. The hand-eye-mind coordination required cultivates a distinctive form of attention to the self, which has renewed importance in the context of the anti- haptic experiences of screen technologies that infiltrate our daily routines in the home and the workplace. Working with the premise that skilled hand-stitching concerns more than technical ability, I examine how these activities articulate dimensions of subjective experience. In turn, I explore ways in which the relationship between an individual and a group is constructed through their crafting skills. My previous experiences of textile crafting as a social activity drew me to this question, and my interest as a practitioner and teacher in the contemporary and future relevance of skilful work motivates me to better understand what it is that I, and many other stitch practitioners, do. With the tacit knowledge of a practitioner I know how to stitch, and from my investigations into the history and theory of textile art, craft and material culture I know about stitch. However, my view is that when absorbed in the process of making other more immediate and personal sensations take over. An exploration of haptic sensations relative to these processes underpins the investigation, and I focus instead on the dynamic relationship between practical skill, the body and its proximity to tools, materials and other people during actual experiences of making – the repeated gestures, coordinated hand movements and the skilled precision of tool use and fingertip manipulation – to provide a new context for the study of embodied knowledge known in and through hand-stitching. In order to explore this I have used a combination of ethnographic, auto-ethnographic and creative research methods including interviews, observation, video recording of a patchwork quilting group, participation in practical stitching sessions with a village embroidery group, undertaking workshops with students, and my own reflective stitching practice. It has emerged from the research that patterns of hand-stitching processes share characteristics with certain modes of social interaction sought by participants in order to experience sensations of participation, belonging or interdependence. Similarly to other oral traditions, an embodied knowledge of the practice includes patterns of interaction and particular attitudes and behaviours that are inseparable from the practical skills. However, people also stitch on their own; as a private, contemplative activity, hand-stitching allows a person to carve out time and space for introspective reflection. Whilst this could be thought of as a different kind of experience altogether, I suggest that mastery of these skills enables control over when and how to use them, which, I have found, allows a practitioner to adjust the type of experience sought: participation in a shared conversation or activity can be exchanged for isolated contemplation and a sense of self-reliance. I conclude that hand-stitching surpasses its technical or artistic attributes when considered as a material practice that offers particular metaphors for other processes of joining, collaboration, integrity – or even separation and isolation. Practising these skills is possibly the only way to acquire this embodied knowledge, which needs to be understood as a mode of interaction if it is not merely trivialised as quaint, as domestic labour or archived as ethnographic curiosity or as art object.
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Fransson, Dekhla Linda. "Weaving Dress : Exploring whole-garment weaving as a method to create expressive dress." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-14884.
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This thesis investigates whole-garment weaving as an experimental design and construction method. The majority of the current development and research within the field focuses on production efficiency and the development of weaving techniques. Here, the intention is to connect form, material and making. The aim is to find ways to deconstruct the process of garment making in order to create new knowledge through craft. Within whole-garment weaving, many design processes are dealt with simultaneously, through direct experimentation on the loom. In order to maintain the integrity of the weaving, interferences such as cutting and sewing is limited. The basics of the practical method is that the cloth is woven as a double weave on the loom. For the practical work, the first objective was to find basic parameters for the project, freely experimenting with weave constructions and bindings. As the process developed, more aspects of garment construction were included in the design process. The combination of bindings, floats and elastic is used to create expressive textile as well as dress, so that the textile surfaces influences the silhouette or the drape. The result shows the expressive potential of whole-garment weaving through a series of nine examples, each showcasing different aspects of the method. The focus is on showcasing experimental approaches to simultaneous fashion/textile design interaction.
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Rossol, Evelyn. "The Viability of Banana Fiber-based Textiles in the Fashion Industry." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1574248933968539.
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Elfvik, Emilia. "Cut and paste : exploring two-dimensional material collages for the use in clothing." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-639.
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This work explores how the idea of collage as ”components put together to create a new whole” can be used in the creation of garments and visual expressions in fashion design. As collage in fashion often is reduced to mere decoration in e.g. print design added to predetermined shapes, this work wishes to have the collage be the dominant factor in the creation of the garments in this collection. By two-dimensional material collages this exploration aims to investigate composition of material, colour, surfaces and shapes in dress. The technique of fusing is used to attach the different materials to each other using the material Vliesofix and heat. The garments are created flat with the possibility to enter in-between the layers of the materials and give shape on the body. By collaging with materials this work tries to bring the creation of material and construction closer together in the design process as well as bring the sketch closer to the final result by sketching directly in the material. The potential of having the material development be present in all the design steps is that it creates a greater relation between the material and shape. The result is a collection of eight outfits proposing new ways of constructing garments at the same time as exploring materials and the technique of fusing. The garments are somewhere in-between sketches and final results and the collection can be looked upon as a fashion collection or as a series of examples of possible outcomes from working with this method.
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Torkildsby, Anne Britt. "Existential design : revisiting the "dark side" of design thinking." Doctoral thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3691.
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This thesis aims to discuss ways of opening up the design brief when designing for extreme environments such as intensive care units and remand prisons. Focusing on “designials” (fundamental forms of design being), the methodology intends to illustrate the fact that objects may directly impinge upon certain “existentials” (fundamental forms of human being). Moreover, the method is a form of critical design that enables designers to shift focus, from analysis of the functionality of a design in use, e.g. by performing a functional analysis, to analysis of the form of being human that a design in use defines. More importantly, this thesis considers what may happen if we do not take into account this aspect of design; in other words, the “dark side” of design thinking.Editor: Lars Hällnäs (LHS), Swedish Shcool of Textiles
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Westman, Malin. "Babewear : Questioning the way society force childrenswear into two set genders, translated in adultwear." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-14899.
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From the day we are born, we are divided into a gender. This work will look into the way society force children wear into two set genders. I expect to enlighten the problems in set genders in clothes. By studying the characteristics in children wear, scale them up into an adult size and see what happens to the proportions, details and expression. Different kinds of garments with different kind of details. The result is a collection that represents todays features of children wear, pointing out the issues of how society gives children a set identity by the dressing them in a specic way, often by using prints or typical colors.
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Arnbert, Camilla. "Surfaced Print." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-524.
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This bachelor degree work explores the interrelation between print and surface in fashion design and aims to investigate the expressional possibilities in merging of techniques. With focus on creating an irregular surface through embroidery and fringing, three-dimensional expressions are created, resulting in an illusion of depth and movement within the motifs. The work is textile-driven, hence the main focus has been to find materials, applicational techniques and motifs that interact with each other without conflicts. Through the use of heat sensitive yarns within the transfer printing process a clear relationship between texture and motif occur where the different aspects affect each other and are equally important for the final visual expression. It is the heat-press used to transfer print from paper to surface that is the most vital step of the process. This work strives to propose a transposed order of applying techniques within a design process. Whilst the act of embellishing existing prints has been investigated by a range of designers, this project propose an order where the print is added post additive surface-manipulation. Therefore this work is to be seen as a suggestion of new ways of approaching the use of prints within the fashion field. Balancing between fashion design and textile design, the collection is based on generic prints and shapes which are affected by the surface manipulations used.
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LINDQVIST, EMMA. "5-i-9." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17361.
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This bachelor degree work investigates fashion as a non-verbal form of communication by the use of prints. Prints in fashion design today are categorized as placed prints or all-over prints. This work explores new dimensions in the use of a placed print by allowing it to interact with garment and body. It strives to take the prints within fashion one step further then just been pure surface decorations. With the main inspiration in T-shirt print design, the aim is to investigate the relation between halftoned, placed prints and garment by trying to achieve a depth within the expression. The main focus in the process is to find and define the depth within the printed textile and then to be able to apply it on garments on the body. Through research in material transparency in combination with screen printing, the work strives for a 3D moiré effect while moving. The work is to be seen as a suggestion of principles for interaction between prints, garments and body and to open up for a more complex way of working with prints within fashion. The combination between the striking 3D prints and the sharp black and white halftones creates a dynamic line-up. The collection provides the viewer with recognisable graphic pictures and elements as well as more abstract prints through layering.In this work it is found a possible technique to allow a message in a print to be communicated stronger. Through layering the printed textiles a new dimension were added to the expression in the motives and garments when interacting with the body. The continuation of this could be to try this effect with different motives and messages to be told. An interesting point of view would be to start with the viewer or receiver rather then the designers personal development in the project. It could possibly be as simple as creating a traditional T-shirt print with the message to communicate. Another alternative could be to carry out the communication of the motive in a whole garment and in how different garment types meet each other.Program: Modedesignutbildningen
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Bergmann, Helene. "Wettodry Initiative : Leading the Way to a Sustainable Fashion Supply Chain through E-Mass Customization." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-16797.
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For this thesis, the concept of e-mass customization, supported through e-commerceand away from mass production is considered as an alternative and sustainable strategyfor fashion and textile companies of western markets. Since the need for selfactualization and individualization increases among western societies, in addition tosustainably conscious consumption patterns, mass customization is one strategicsolution to face current market trends. In accordance to that, it is aimed to find highlyflexible supply chain possibilities suitable for this volatile industry sector. This isaccompanied by exploring modern and innovative production and information andcommunication technologies to ease cost, location and risk advantages. The main effortis placed on digital textile printers since this technological integration is regarded as ahub that supports a digital, yet flexible supply chain setup, regardless of point ofproduction.Program: Master programme in Applied Textile Management
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Seeburger, Katryn I. "LIEBLINGSPULLIFAVORITE SWEATER." Kent State University Honors College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1494203908011374.
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Moëll, Caroline. "JERSEY, SURE ! : Special developed jersey knits with color effects." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-13030.
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This study investigates the effect of single jersey, based on its original formas a cylinder. It is also an investigation of color and transforming surfaceof garment.The outfits are based on the cylinder in construction. With some cuts andseams, developed into garments. The surface of the fabric has qualities recognizable to rib, but the constructionis different. By using cotton and polyester yarns, the stripesshrinks in different directions and when the body integrates with thefabric, shape, gravity and movement will make the material transform byopen and closing the lines. Different color effects are presented in the collection. The result is suggestingdifferent color effects, depending on size of the stripes, the saturationof the colors and the placement on the body.
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Scarpa, Soraia Pauli. "Contribuição moderna e estratégica do design têxtil e de moda no Instituto de Arte Contemporânea (IAC-MASP) no Brasil: 1950-1953." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-21112017-214730/.
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Durante os anos 1947 a 1953, o Museu de Arte de São Paulo (MASP) dedicou-se a colecionar obras-primas das artes antigas e modernas. Também trouxe ao Brasil uma série de exposições de design. Nesse contexto, o presente trabalho busca discutir a importância do MASP na promoção do design têxtil e de moda nacional de 1950 e 1953, datas que correspondem ao lançamento da revista Habitat e o encerramento das atividades do Instituto de Arte Contemporânea (IAC-MASP). Para tanto, foi necessário compreender e analisar quais foram as referências em design, educacionais e museológicas que influenciaram a formação de cursos, a constituição de acervo, a exibição de moda e tecelagem nas dependências da instituição e os textos na revista Habitat, além da criação do Centro de Estudos da Moda. A partir de uma revisão de literatura, foi possível inferir que as ações praticadas no MASP em prol do design têxtil e de moda têm reflexos até os dias atuais para a área, com destaque para os acontecimentos na década de 1960, gerando uma produção em diálogo com o modernismo brasileiro, pois usaram a experiência internacional para valorizar o nacionalFrom 1947 to 1953, the São Paulo Museum of Art (MASP) collected masterpieces from ancient and modern art. Moreover, it brought some design exhibitions to Brazil. This work discusses MASP\'s relevance in promoting national textile and fashion design between 1950 and 1953, years that correspond to the launch of Habitat magazine and the closing of the Instituto de Arte Contemporânea (IAC-MASP). In order to reach this goal, it was necessary to understand and to study which educational and museological references had influenced MASP in the creation of disciplines, their collection, fashion and weaving exhibitions in the institution and texts published in Habitat magazine, besides the creation of the Fashion Design Center. A literature review made it possible to infer that actions promoting textile and fashion design at MASP have been fruitful until nowadays, especially for education during the 1960s, representing a production that dialogs with the Brazilian Modernism, because used an international experience to valorize the national one
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Isaac, Veronica Tetley. "'Dressing the part' : Ellen Terry (1847-1928) : towards a methodology for analysing historic theatre costume." Thesis, University of Brighton, 2016. https://research.brighton.ac.uk/en/studentTheses/87400942-c698-4d46-b2a4-983f5df1eb6f.
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The material culture of historic theatre costume offers a vital resource for the fields of dress and theatre history that has yet to be fully recognised. This thesis unites approaches from both disciplines to create a specific methodology for the study of theatre costume founded upon the examination and assessment of such garments. It argues that theatre costume represents a separate and specific category of clothing and theatrical ephemera. Celebrated actress Ellen Terry (1847-1928), an individual highly attuned to the significance of dress as an expression of identity, is used as a case study to demonstrate the validity of this new methodology. Adopting an object-based and material culture approach, the thesis engages with the visual and physical evidence about performance and design that can be gathered from Terry’s extant theatre costumes. It also highlights crucial information about Terry’s dress and its public reception gleaned from additional sources such as photographs; paintings; letters; reviews, and within Terry’s papers and books. This thesis represents the first full investigation of Terry’s personal and theatrical wardrobe, and is the first study to carry out a close analysis of the actress’s surviving garments. This analysis establishes the factors fundamental to the interpretation and study of theatre costume: the significance of social, artistic and historic context; parallels and contrasts between on and off-stage dress; the collaborative process of design and making; the function of costume as both performance object, and expression of ‘identity’; the issue of multiple and complex ‘biographies’; and the crucial evidence offered from material culture sources, most importantly, surviving costumes. Chapter 1 outlines existing methodologies and the cross disciplinary nature of the thesis; Chapter 2 reviews existing literature and proposes a new methodology; 3 provides the context for Terry's professional career; 4 develops the methodology and analyses extant garments. 5 and 6 relate the methodology to ideas of self-fashioning and biography. The thesis establishes Terry as an exceptional figure in British theatre and society who took an active role in fashioning her public and private image, both during her life, and after her death. The analysis of Terry’s wardrobe confirms the status of theatre costumes as unique garments, which represent a key source for design, dress and theatre historians. This detailed case study demonstrates that the methodology presented can be employed in the study of other figures, theatres and periods, and opens up a new and productive direction for future research.
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Bhattacharjee, Samita. "Poly'nAsia a fashionable fusion of Tongan & Indian textile traditions : this exegesis is submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design (Fashion Design ), February 2005." Full thesis. Abstract, 2005.
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Stodolnik, Dorighello Veronica. "When Fashion Encounters the Arts: an Henri Matisse Inspired Spring/Summer 2014 Womens Wear Collection." Kent State University Honors College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1400239202.
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Bahlner, Sofia. "Under con-structure." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17069.
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For this project I want to cheer my subconscious passion for animals and use them as inspiration and as a starting point. Animals are mostly interesting in the project when it comes to their surface and their structure. The work has been a development of structures and techniques in an experimental way of working with textiles and mixed media on garments. The aim is to explore how structures can form garments.Comparing to a traditional design process this work is explored by a reversed design method where the material are formed into shapes or modules and then put together as a garment. So the form has been secondary to the surface structure of the garments. It is also important that the collection urge viewers to touch and feel the structure and hopefully also encourage people to understand and get involved with the fabric and what it´s maid of. The work shows that structure in textile is a lot about levels and layers in the surface area. The investigation in the work is about creating a three-dimensional feeling that is almost like a landscape to explore. During the process it has been found that it´s a thin line between when the garment has a specific surface structure and when it is a garment decorated with modules of a certain material.For me this could be a neverending life project. A project that can continue into several outfits in various techniques and materials but the idea could be developed by putting up rules like using only waste material or material that has been given to you.Program: Modedesignutbildningen
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Carvalho, Nathalia Alborghetti. "Design de superfície : estudo comparativo de processos de estamparia têxtil sob enfoque ambiental." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/142665.
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Esta dissertação tem como objeto de estudo os processos de transferência de imagens para substratos têxteis destinados à confecção de roupas de moda e vestuário sob enfoque ambiental. Hoje a moda é uma poderosa indutora de consumo, sendo a estampa um de seus mais importantes recursos. A etapa de beneficiamento têxtil – chamada de estamparia – consome grandes volumes de recursos naturais e de produtos químicos nocivos ao meio ambiente e à saúde do prestador de serviço. Nesse cenário, analisam-se os impactos ambientais através das principais entradas de matéria-prima – água, produto químico e energia – e saídas – resíduos e efluentes – provenientes dos processos de estamparia mais usados atualmente na indústria têxtil brasileira: serigrafia, impressão digital por sublimação e impressão digital a jato de tinta, nos formatos localizado e corrido. O estudo visa obter um indicativo ambiental dos processos de transferência de desenho para superfície têxtil de produtos de moda. Os resultados auxiliam designers e empresários na escolha de métodos de impressão sobre tecidos para produzirem artigos de moda alinhados aos conceitos do desenvolvimento sustentável. Para tanto, realizou-se pesquisa de natureza qualitativa aplicada, com métodos de caráter exploratório, pesquisa bibliográfica, documental e eletrônica, e por observação in loco, através de visitas técnicas às empresas. Como instrumento de sistematização dos dados coletados desenvolveu-se uma ferramenta baseada em aspectos selecionados da normativa de padronização ISO 14040 − International Organization for Standardization − e da ferramenta Sustainability Design Orienting Toolkit – SDO −, de Vezzoli (2010), que orienta o processo de design para soluções sustentáveis. Como resultado, expõem-se os métodos de impressão menos impactantes na saúde do trabalhador e no meio ambiente, evidenciando que certas etapas de processos de estamparia têxtil, pensadas sob o viés ecológico, fazem parte da realidade de empresas de médio e grande porte, embora se encontrem distantes da realidade das micro e pequenas empresas. A inserção de ações de sustentabilidade nas etapas dos processos de estamparia tem potencial a ser explorado, além de ser de grande valia na busca pelo consumo de roupas de moda de cunho ético.This dissertation focus on the processes of image transference to textile substrates destined to fashion clothing production under environmental focus. Nowadays fashion is a powerful inducing consumption and patterns are one of its most important resources. The textile-processing step – called stamping – consume large amounts of natural resources and chemicals harmful to the environment and health of the service provider. In this scenario, the environmental impacts are analyzed through the main entrances of raw material – water, chemical and energy – and outputs – waste and effluents – from the most usual printing processes currently in the Brazilian textile industry: silkscreen, dye-sublimation printing and digital ink jet printing, located in and run formats. The study aims to obtain an environmental indicative of the design transfer processes for textile surface fashion products. The results help designers and entrepreneurs to choose tissue-printing methods to produce fashion items aligned with the concepts of sustainable development. Thus, there was qualitative applied research, with exploratory methods, bibliographical, documentary and electronic research and on-site observation, through technical visits to companies. As the collected data systematization instrument it was developed a tool based on selected aspects of the standardization of rules ISO 14040 – International Organization for Standardization – and the Design and Sustainability Orienting Toolkit – SDO – of Vezzoli (2010) that guides the design process for sustainable solutions. As results, printing methods with less impact on the workers health and the environment are shown, demonstrating that certain stages of textile printing process analyzed from an ecological bias are reality of medium and large companies, but far from the reality of micro and small businesses. The inclusion of sustainable initiatives in the stages of printing processes has potential to be explored, as well as being of great value for ethical fashion consumption.
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Stwodah, Hawa. "ADORNMENT AND MODESTY A Symbiotic Relationship between Surface Design and Social Behavior." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4115.
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The impulse to beautifying clothing through acts of adornments or embellishments is an innate characteristic of humans. The added decorative details are used for identification and visual communication by the wearer and comprehension and visual appreciation by the viewer.
This thesis investigates the recent attention to female modesty, labeled as the Modesty Movement--the community that has developed around the apparel segment of the Movement and the framework of the behavior encompassing the participants within Movement. Additionally, the thesis focuses on adornment through the lens of textile/surface design (embellishment) specific to the Greater Middle East and the northern provinces of India and its application to modest apparel. Surface design is defined as manipulation of a textile beyond the woven construction, in this context it is applied to women’s apparel that covers the head and chest. Through a series of experiments using light, sound and motion the thesis examines how the use of of adornment simultaneously conveys identity and conceals the wearer.
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Badgett, Jeanne Oakes. "AN EVALUATION OF THE QUALITY OF MENS 100% COTTON JERSEY KNIT T-SHIRTS REPRESENTING THREE RETAIL CATEGORIES." UKnowledge, 2017. http://uknowledge.uky.edu/mat_etds/13.
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The purpose of this research was to evaluate the quality of design, materials, construction, appearance, and performance of mens 100% cotton jersey knit t-shirts from three retail categories: mass merchant, fast fashion, and better. These retail categories were represented by brands Fruit of the Loom, H&M, and Brooks Brothers, respectively. A convenience sample was comprised of 78 t-shirts. 13 white and 13 navy t-shirts from each brand were used for testing according to ASTM and AATCC standards and specifications. Evaluations and measurements were conducted before washing, and after one, five, ten, and twenty laundry cycles. The t-shirts were evaluated for fabric weight, fabric count, color change, whiteness change, crocking, smoothness appearance, bursting strength, pilling, dimensional stability, and skewness. The navy t-shirts in the ‘better’ retail category met five out of the six requirements specified by the ASTM standard. However, the navy t-shirts in the ‘fast fashion’ category met four out of five met by the ‘better’ category. In conclusion, the decision to purchase a t-shirt from these retail categories may depend on consumer expectations.
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Wallace, Jensin E. "Exploring the Design Potential of Wearable Technology and Functional Fashion." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397476921.
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STANKEVICI, ELENA. "How to manage complexity within Gefa International AB with a focus on documentation and supply chain." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20712.
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Due to the high competitive nature of the fashion industry, it is essential for businesses to have precise and update information regarding its orders from every part of the supply chain. However, in nowadays conditions, when manufacturing process is outsourced worldwide, but lead times tend always to become shorter complexity of the supply chain has increased significantly that makes very complicated to ensure good visibility, communication, and coordination through the chain. The aim of this thesis is to find the way of managing complexity within Gefa International AB, located in Sweden, by improving its documentation and reorganizing the supply chain. By analyzing the company’s organization three main problems have been identified as: lack of the technical department, presence of intermediaries between the focal firm Gefa and manufacturers, and finally the current modification of the computer system Pisa that does not allow using developed set of documentation in the appropriate way. Two suggested solution should solve these problems and improve performance of the company. First, it is proposed to exclude intermediaries from the supply chain and to add one more work place in the company for the technical assistance. Second, it is necessary to adapt current computer system to the developed set of documentation. These solutions require additional expenses. However, preliminary calculations show that it could be covered by the economies on the middlemen’s interest.Program: Applied Textile Management
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Stankevici, Elena. "How to manage complexity within Gefa International AB with a focus on documentation and supply chain." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20718.
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Due to the high competitive nature of the fashion industry, it is essential for businesses to have precise and update information regarding its orders from every part of the supply chain. However, in nowadays conditions, when manufacturing process is outsourced worldwide, but lead times tend always to become shorter complexity of the supply chain has increased significantly that makes very complicated to ensure good visibility, communication, and coordination through the chain. The aim of this thesis is to find the way of managing complexity within Gefa International AB, located in Sweden, by improving its documentation and reorganizing the supply chain. By analyzing the company’s organization three main problems have been identified as: lack of the technical department, presence of intermediaries between the focal firm Gefa and manufacturers, and finally the current modification of the computer system Pisa that does not allow using developed set of documentation in the appropriate way. Two suggested solution should solve these problems and improve performance of the company. First, it is proposed to exclude intermediaries from the supply chain and to add one more work place in the company for the technical assistance. Second, it is necessary to adapt current computer system to the developed set of documentation. These solutions require additional expenses. However, preliminary calculations show that it could be covered by the economies on the middlemen’s interest.Program: Applied Textile Management
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Persson, Anna. "Exploring textiles as materials for interaction design." Doctoral thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3652.
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As computational technology and new materials enter the world of textiles, our view on textile materials is challenged. Textile interaction design suggests a new design space in which the fields of textile design and interaction design are merged. This work contributes to the introduction of textiles as material for interaction design and focuses on spatial and temporal design of the dynamic elements of textiles – the elements that enable interaction. The result is various interactive textile material examples which are meant to inspire new expressional uses of textile materials thought of as slow, interacting hardware able to inhabit our everyday environments through responsive light, tactile connections, and informative decorations etc. Design experiments conducted within this thesis are framed by a research programme, which is set up as an initial guideline to explore visual and tactile interactive properties of knitted textiles. Together with practical knowledge, the result is a theoretical framework that frames essential features of an interactive textile design where the defined design variables introduce a way to formulate what it is we design when we design for dynamic elements. By introducing notions such as the potential and precision of interaction, design variables relating to both physical and programming design are derived from the design of the dynamic elements of a material. A retrospective analysis of the experiments in relation to four acknowledged interaction design dimensions establish a link between the fields of interaction design and textile design. This work is based on the design experiments Electrical Burnouts, Costumes and Wall Hanging, Touching Loops, Designing with Heat, Functional Styling, Repetition and Stretching Loops, where the implemented structures are seen both as materials for further design and examples meant to provide inspiration in a more general sense.Academic dissertation at the University of Borås to be publicly defended on Wednesday 5 June 2013 at 13.00 in lecture room M404, the University of Borås, Allégatan 1, Borås.
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Peterson, Joel. "Customisation of Fashion Products Using Complete Garment Technology." Doctoral thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3637.
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Complete garment knitting technology is a method of producing knitted products, generally fashion garments, ready-made directly in the knitting machine without additional operations such as cutting and sewing. This makes it possible to manufacture a knitted fashion garment with fewer processes then with conventional production methods. In the fashion business customer demand is always changing due to fashion trends, so to be able to manufacture and deliver products rapidly is important. Mass customisation is a customer co-design process of products and services that tries to meets the needs of an individual customer’s demand for certain product features. In the fashion business this means that the customer can order a garment with a customised style, colour, size, and other personal preferences. The principal objective of this dissertation was to examine if and how complete garment technology can be applied to the customisation of knitted fashion products. It was pursued through several independent studies in knitting technology, mass customisation, and fashion logistics against a theoretical frame of reference in these areas. The papers in this thesis present various examples of how knitted fashion garments can be customised and integrated into fashion retailing concepts. The starting point of the research was the Knit-on-Demand research project conducted at the Swedish School of Textiles in collaboration with a knitting manufacturing and retailing company. The aim was to develop a shop concept built on the complete garment technology where a garment could be customised, produced, and delivered as quickly as possible. This initial idea failed due to the expense of investing in complete garment knitting technology, and so other avenues of research had to be found. The Knit-on-Demand project continued, using a business model similar to the complete garment concept but with the retail store and the production unit situated in different locations. The overall research question addressed in this thesis is: How can complete garment knitting technology be applied in a retail concept for customised garments? This question is then divided in two problems: What are the fashion logistics effects of combining complete garment technology and mass customisation? How does the co-design process function in the customisation of knitted fashion garments?The following is a qualitative study based on five research articles applying different research methodologies: case studies, simulations, and interviews. The empirical context is the area of mass customisation of fashion products and knitting technology, more specifically called complete garment knitting production technology. No prior studies describing mass customisation of complete garment knitting technology in combination with fashion logistics were found in the literature. The main contribution of this study is the demonstration that complete garment knitting technology can be applied in the customisation of fashion products. It also illustrates the importance of the co-design process between the company and the customer through which a knitted garment can be customised, produced, and delivered to the customer in three to five hours. The process of co-design and manufacture of a customised complete fashion product is examined, and the advantages and disadvantages associated with customisation of knitted garments are identified and described.
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Smal, Desiree Nora. "The role of environmental sustainability in a design-driven fashion industry : a South African case study." Thesis, Cape Peninisula University of Technology, 2016. http://hdl.handle.net/20.500.11838/2269.
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Thesis (DTech (Design))--Cape Peninsula University of Technology, 2016.This thesis is an investigation into environmental sustainability in the South African fashion industry, with a particular focus on the role of design therein. The fashion and textile industry is a significant contributor to the South African economy and a major user of human and natural resources. It is through the use of resources – natural, constructed and human – that the industry is also supposedly damaging to the natural environment and the people working within it. Notable authors on environmentally sustainable design and, in particular, environmentally sustainable fashion design, seem to suggest that a holistic approach to environmental sustainability is fundamental to the implementation thereof. Design has the ability to direct change, and thus design and designers have the potential to drive holistic sustainable practices in the fashion system.The question this research therefore poses is what the role of environmental sustainability should be in a design-driven approach in the South African fashion industry; interrogated through an exploratory and descriptive case study. The case study consists of three purposively selected sub-units that operate within an environmentally sustainable focus in their fashion businesses, and that design, produce, and retail fashion products. The aim of the research was to explore, through a snapshot of the South African fashion system, the implementation of environmental sustainability in the fashion industry in South Africa, in order to determine what role fashion design practice can have in developing environmental sustainability in the fashion system.The most notable finding of the research highlights the immense difficulty of operating as a fashion business from an environmentally sustainable focus in South Africa due to the lack (and unsuitability) of resources that can be considered environmentally sustainable. The declining textile industry of South Africa makes it either almost impossible, or very costly, to work within an environmentally sustainable framework, and is a major impediment in the implementation of environmental sustainability in praxis. Therefore, those businesses that decide to operate within an environmentally sustainable framework do so because of inherent personal values and ethics.The second aspect identified in the survey of scholarship and underpinned by the findings, is a need for a transformative approach with regard to design praxis and how design praxis can influence consumer eco-consciousness. The research concludes with a recommended framework that suggests a holistic and integrated approach to design-driven environmental sustainability in the South African fashion industry, and elaborates on the role of the fashion designer in the implementation of environmental sustainability in the fashion system. The holistic and integrated approach should extend into fashion design education, requiring a fundamental shift in current fashion design education in South Africa.
University of Johannesburg
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SVENSSON, ANNA. "Units." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17359.
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Schilder, Marit. "3 Dimensional Virtual Fabric and Garment Simulation." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212101542.
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Inocentes, Francesca Louise. "[REBELUTION 17]: Gender Bender." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/950.
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Fashion embodies what is accepted and valued in a given culture or society and empowers individuals by building self-confidence, enabling them to express themselves authentically through their bodies and garments. The gender binary, perpetuated by the mainstream fashion industry, marginalizes individuals who do not conform to it. In Rebelution 17, I utilize clothing design and photography to empower and liberate individuals who do not conform to the standards of beauty in regards to gender identity and acceptability. The finished works are featured in a Lookbook – a digital and physical collection of photographs used to market fashion – designed to promote awareness of gender-neutral fashion and deconstruct industry norms. Rebelution 17 can be viewed online at www.francescainocentes.com.
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JOHANSSON, EMELIE. "Structure is everything." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20136.
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This work started with a shape and a technique. Finding a method in developing volumes with the material in focus has been a theme throughout the project. The boundary between material and form has been investigated, just as the transition from sketch into ready garment. The result is a colourful and expressive collection of garments for women. The composition of the collection has been put together much as when making a collage, adding one interesting piece to another. The final collection ranges from one-off crafted pieces to more commercial or reproducible garments.Program: Modedesignutbildningen