Journal articles: '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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Chen, Jocelyn H.-C. "Integration of Textile and Fashion Design with Overstitching." Research Journal of Textile and Apparel 15, no. 1 (February 2011): 33–43. http://dx.doi.org/10.1108/rjta-15-01-2011-b004.

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ÇİNİ, Çiğdem Asuman. "An upcycling project in textile and fashion design." Research Journal of the Costume Culture 27, no. 1 (February 28, 2019): 11–19. http://dx.doi.org/10.29049/rjcc.2019.27.1.011.

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Simonson, Caryn. "Textile Futures: Fashion, Design and Technology, Bradley Quinn." TEXTILE 10, no. 3 (January 2012): 350–52. http://dx.doi.org/10.2752/175183512x13505526963741.

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Kgatuke, Matholo, Dorothy Hardy, Katherine Townsend, Eloise Salter, Tina Downes, Karen Harrigan, Susan Allcock, and Tilak Dias. "Exploring the Role of Textile Craft Practice in Interdisciplinary E-Textiles Development through the Design of an Illuminated Safety Cycling Jacket." Proceedings 32, no. 1 (December 5, 2019): 12. http://dx.doi.org/10.3390/proceedings2019032012.

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Most E-textile research tends to fall within the arts or science disciplinary boundaries, despite E-textiles themselves being interdisciplinary in nature. This work explores how contemporary woven textile practice methodologies can play a role within interdisciplinary research, expanding the creative and technical applications of materials and technologies. A team of electronics, textiles, and fashion specialists was formed to design and make an illuminated jacket for use by cyclists. The jacket incorporated bespoke woven panels that integrated electronic yarns within the pattern. The development of this prototype raised questions about the use of craft practice methodologies in the development of new E-textiles.

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Sandvik, Ida Marie, and Wendy Stubbs. "Circular fashion supply chain through textile-to-textile recycling." Journal of Fashion Marketing and Management: An International Journal 23, no. 3 (July 8, 2019): 366–81. http://dx.doi.org/10.1108/jfmm-04-2018-0058.

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Purpose The purpose of this paper is to explore the drivers, inhibitors and enablers of creating a textile-to-textile recycling system in the Scandinavian fashion industry. It investigates the technology, innovation and systemic changes required to enable circular supply chains. Design/methodology/approach The research study uses a qualitative, interpretivist approach, drawing on in-depth semi-structured interviews with stakeholders in the Scandinavian fashion industry. Findings The main inhibitors to textile-to-textile recycling systems in the Scandinavian fashion industry are: limited technology which creates a challenge for separating materials; high costs of research and development and building the supporting logistics; complexity of supply chains including the multitude of stakeholders involved in product development. The enablers are design and use of new materials, increased garment collection and collaboration. This research suggests that sorting and recycling technology can be enhanced with the use of digital technologies, as this would create transparency, traceability and automatisation. Research limitations/implications The research is limited by a small sample size and lack of representation of all key stakeholder groups, which limits the ability to generalise these findings. However, as an exploratory study, the findings provide insights that can be further tested in other contexts. Originality/value Understanding of textile-to-textile recycling is emerging both theoretically and practically, however, there is still much that is not understood. This research contributes to furthering understanding of how technology, collaboration and systemic change in the fashion industry can support opportunities for textile-to-textile recycling, thereby aligning with circular economy principles.

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Safitri, Dewi Diana, and Tiwi Bina Affanti. "PERANCANGAN TEKSTIL PAKAIAN DENGAN PEWARNA DARI SAMPAH MANGROVE DAN PENERAPAN MOTIFNYA DENGAN PADUAN TEKNIK IKAT CELUP DAN ECO PRINTING." Ornamen 19, no. 2 (December 1, 2022): 121–31. http://dx.doi.org/10.33153/ornamen.v19i2.4590.

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The background of this design, there is an exploration of manual textile techniques among textile designers, this is in line with the demands of the times, namely, the development of existing trends in order to meet the needs of consumers and the market. The combination of tie-dying and eco-printing techniques attracts attention to be explored again using natural dyes with the addition of embroidery techniques on Bemberg cloth media, which will produce textiles with novelty in their aesthetic motifs. The purpose of this design is to produce clothing textiles with novelty in their unique motif aesthetics among textile designers to meet the needs of consumers and the market. The novelty value offered in this design is the design of clothing textiles according to fashion patterns with a combination of dyeing and eco printing techniques with embroidery techniques. Natural coloring using extraction from mangrove waste. Composing motifs using natural dyes from mangrove waste with two fixations of quicklime and tunjung to obtain varied visual aesthetics in one natural coloring. The media used in this blend of tie-dying and eco-printing techniques is bemberg cloth. Bemberg cloth material was chosen because it has very good absorption. The design method uses the SP Gustami theory. This design produces 6 unique designs with visual ideas of line, plane and color, which can be achieved by a combination of tritik, jumputan tie-dyed and eco printing techniques, three of which are applied to sheets of cloth measuring 200cm long and 120cm wide. It is hoped that the "Design of Clothing Textiles with Dye from Mangrove Waste and the Application of its Motifs with a Combination of Ikat Dip and Eco Printing Techniques" can add variety to fashion products that have unique, distinctive and limited edition characters.

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Danylenko, Lesya. "Op-Art in the British Graphic Design of the 1960s–1970s. Fashion And Graphic Design." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 38–48. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235125.

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The article reveals the characteristic manifestations of the op-art style in British fashion on the examples of textile companies and individual designers, as well asin graphic design based on the analysis of printed products of British publications in the 1970s. It is claimed that the visual experiments of the op-art in the field of British fashion were most fully revealed in the activities of the textile companies "Heals", "Hull Traders" and "Edinburgh Weavers" and in the work of designer Mary Quant. And in graphic design — in the book covers of the popular science series "Pelican Books".

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Ningsih, Yosepin Sri, and Jeani Widjaja. "PERANCANGAN ILUSTRASI KOLEKSI BUSANA DENGAN KARAKTER VISUAL TENUN TRADISIONAL INDONESIA." Jurnal Dimensi Seni Rupa dan Desain 17, no. 2 (February 16, 2021): 117–36. http://dx.doi.org/10.25105/dim.v17i2.8828.

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AbstractThe existence of traditional woven fabrics in Indonesia is no longer limited to people who live in the regions producing these woven textiles products, but has become a wider ownership. The use of traditional woven textiles continues to grow and become popular especially in the world of fashion and life style. The florescence of traditional woven textiles popularity was then analyzed qualitatively based on the results of data obtained through questionnaires, exhibition and social media observation. The data showvarious fashion products using a variety of traditional Indonesian woven textile and sold in various range of price. The products are then classified based on Abraham Maslow’stheory of needs. The findings then used as a basis for creating fashion design illustrations entitled “Goresan Tenun”. The aim of these designs is to show some example of how toapply and use traditional woven textile into fashion products.AbstrakEksistensi kain tenun tradisional di Indonesia tidak lagi terbatas pada masyarakat yang berasal dari daerah penghasil produk tenun tersebut, namun sudah menjadi kepemilikan yang lebih luas. Penggunaan kain tenun terus berkembang dan menjadi populer khususnya di dunia fashion dan lifestyle. Kepopulerantenun tradisional kemudian kemudian dianalisis secara kualitatif berdasarkan perolehan hasil data melalui penyebaran kuesioner, pengamatan pameran dan penjualan baik secara langsung maupun daring. Hasil pengamatan menunjukkan bahwa berbagai produk fashion menggunakan beragam jenis tenun tradisional Indonesia dan dijual dengan harga yang sangat beragam. Beragam produk tersebut kemudian diklasifikasikan berdasarkan teori tingkat kebutuhan dariAbraham Maslow. Hasil dari klasifikasi dianalisis dan digunakan sebagai dasar dalam pembuatan perancangan ilustrasi busana berjudul Goresan Tenun. Tujuan dibuatnya perancangan ini adalah memberikan contoh gambaran pemanfaatan dan pengolahan kain tenun tradisional Indonesia dalam produk fashion.

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Ding, Ding, Fan Zhang, Si Lan, Yu Yao Liu, Si Xuan Li, Xiao Han Xie, and Yi Ching Chen. "Review of Materials for Origami in Fashion Design." Advanced Materials Research 821-822 (September 2013): 790–93. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.790.

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With the development of textile engineering, different choices of materials and fabrics for origami art have now become possible, however the variety situates origami designers in an issue of materials selection. This paper reviews current materials for origami and described the characteristics of optimal fabrics.

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Silva, Augusta, Helena Vilaça, Jéssica Antunes, Ashly Rocha, and Carla Silva. "Textile bio-based and bioactive coatings using vegetal waste and by-products." Base Diseño e Innovación 7, no. 7 (December 30, 2022): 57–70. http://dx.doi.org/10.52611/bdi.num7.2022.801.

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This work aimed to fulfil one of the great consumer trends related to ethically and environmentally sustainable attitudes. The main concept was to develop an alternative material to natural and synthetic leather by creating new bio-coated textile structures with improved environmental credentials, and to use vegetable wastes and by-products from agroforestry industries, as well as biopolymers. Different residues, such as sawdust and pine bark were successfully incorporated in polymeric aqueous formulations and applied as textile coatings. The Life Cycle Assessment of these new textile products showed that they present a lower environmental impact in comparison to natural leather used for clothing and shoe applications. Overall, the alternative material developed here is a favourable sustainable material. The use of by-products to create bio-based materials comprises a great potential for a broad spectrum of applications in other fields in the Textile and Clothing Industry such as fashion, eco-design, sports and protection apparel, furniture decoration, home textiles, footwear, fashion accessories, in addition to others.

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Chung, Ha Jeong, and Juhee Park. "Contemporary Characteristics of Fashion-textile Design Applying Paisley Ornament." Journal of the Korean Society of Clothing and Textiles 44, no. 5 (October 31, 2020): 950–68. http://dx.doi.org/10.5850/jksct.2020.44.5.950.

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김은진 and 장남경. "Fashion Design for Environment using Pre-Consumer Textile Waste." Research Journal of the Costume Culture 17, no. 2 (April 2009): 225–37. http://dx.doi.org/10.29049/rjcc.2009.17.2.225.

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Gordon, Beverly. "Textile Futures: Fashion, Design and Technology, by Bradley Quinn." Design and Culture 4, no. 1 (March 2012): 116–18. http://dx.doi.org/10.2752/175470812x13176523285723.

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Cassidy, Tom, Sergei Grishanov, and Weih-Her Hsieh. "Yarn CAD simulation for fashion and textile design education." International Journal of Fashion Design, Technology and Education 1, no. 1 (March 2008): 13–21. http://dx.doi.org/10.1080/17543260801948793.

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ÇORUH, Ebru, and İlknur TERLEMEZ. "EXAMPLE OF INTERPRETING THE PAZIRIK CARPET PATTERN IN SUITABLE WITH FUTURIST ART CURRENT PROCESSES AND INSPIRED DESIGN EXAMPLE." Zeitschrift für die Welt der Türken / Journal of World of Turks 14, no. 1 (April 15, 2022): 183–98. http://dx.doi.org/10.46291/zfwt/140115.

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Futurism, which defends technology, ignores the past, rejects museums, praises the machine, and is the biggest of the roads leading to abstract art, is constantly in pursuit of freedom and innovation. Futurism is a movement that emphasizes dynamic energy in the field of design, literature and art. Futurists have been influential in many fields of art such as architecture, music and fashion in order to change the world. The Pazirik carpet, which conveys the traces of the past as a message to the future, contains traces of the futurist art movement with the meanings found in the motifs. The motifs found on the pazirik carpet, which were discovered in the fifth kurgan on the foothills of the Altai Mountains, inspired the works created by adopting a futuristic understanding of art, and the products produced in the field of fashion and textile design. In this context, futuristic, dynamic, ostentatious and technology-used products have been given in the field of fashion and textile design, where works are given with a futuristic understanding of art. The aim of this study is to use three-dimensional printer technology in the field of fashion and textile design, to give information about the stages of the fashion product produced using three-dimensional printer technology, to interpret the pazirik carpet, which carries the traces of the past in the motifs on it, by adopting a futuristic understanding, and to use the product with three-dimensional printers called the technology of the future. by making the design and placing it on the ready-made garment. With a futuristic approach, the idea of reinterpreting the pazyryk carpet pattern and obtaining original designs is aimed to inspire designers and researchers who work in the field of fashion and textile design. Keywords: Pazırık carpet, carpet motifs, futurism, three(3) dimensional printer

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LAM, Jin. "Co-designing expressive textile arts: student advancements in service-learning." Arts & Humanities Open Access Journal 4, no. 4 (July 14, 2020): 119–28. http://dx.doi.org/10.15406/ahoaj.2020.04.00162.

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This study aims to find out the impact of expressive textile arts practice in co-design process on undergraduate students after taking a series of co-design textile arts and fashion creativity workshops from the service learning subject, “Community Engagement through Expressive Textile Arts and Fashion” offered by the Hong Kong Polytechnic University in 2018and 2019. A total of 38 prototypes had been jointly created by ex-mentally ill persons, people with intellectual disabilities, subject lecturers and undergraduate students during the co-design workshops in these two cohorts. Concepts of ex-mentally ill persons and people with intellectual disabilities in the community, expressive arts therapy, textile arts, expressive textile arts and service-learning subject were introduced in this subject. In the co-design process, students were expected to gain new knowledge and skills after they participated in the lectures, seminars, workshops and mini fashion show of the service-learning subject. In this study, quantitative research method was used to explore the impacts of co-design process on students practicing expressive textile arts with their service recipients. For the results, positive impacts are found on students regard to their participation in this service-learning subject. The main advancements include empowerment and enhancement of community engagement.

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Ertuna, Ilker, Yusuf Güngör, Fatma Karaoğlu, Nazlı Dindar, Uğur Can Topçu, Gökhan Çaliş, and Doç Dr Ceren Göde. "Design and Production of Smart Wearable Textile Products Using Layered Manufacturing Technology with Photovoltaic Energy." South Florida Journal of Development 2, no. 2 (May 17, 2021): 1636–44. http://dx.doi.org/10.46932/sfjdv2n2-040.

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Smart textiles are used in a wide range of areas, such as defense industry, security, medicine, health, aviation, space sciences, environment, energy, biotechnology, agriculture, food, cosmetics and fashion design. In this study, with the progress of technology in the area of the wearable smart textile industry, 3D manufacturing which has started to take place in the industry as a new manufacturing method or in other words layered manufacturing practices are discessed. For this purpose, a solar panel was placed in the 3D printed material obtained by FDM method, one of the layered manufacturing methods, and integrated into the textile material and to charge our electronic devices from photovoltaic energy was explained. It is aimed to produce, using the knowledge gained as a result of the study, smart textile products that facilitate human life with 3D printed materials obtained from filaments with conductive additive.

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D’Itria, E., and C. Colombi. "RECYCLED TEXTILES: EVOLVING DESIGN-DRIVEN PRACTICES FOR CHANGING THE CIRCULAR FUTURE OF THE FASHION SECTOR." TEXTEH Proceedings 2021 (October 22, 2021): 65–73. http://dx.doi.org/10.35530/tt.2021.02.

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In recent times, waste materials such as deadstock or used clothing have captured the fashion industry's attention. These materials have been the subject of studies to design sustainable production systems and new manufacturing techniques, intending to approach a circular economy model. In this context, the fashion industry has implemented strategic, design-led actions to prevent waste and promote recycling and recovery actions. Recycled textiles are fertile ground for fashion experimentation that, starting from the circular economy concept, can involve the entire textile supply chain: all the different actors working together proactively to encourage the establishment of industrial symbiosis systems between the districts. An excursion among the ideas and techniques applied to this field can show the possibilities of sustainable material-led approaches that can make a more positive future thrive.

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Hutkova, Karolina, and Karolina Hutkova. "The Global Trade of Textiles and Clothing in the Early Modern Period: Exchange, Meaning and Materialities." Exchanges: The Interdisciplinary Research Journal 2, no. 2 (March 25, 2015): 314–20. http://dx.doi.org/10.31273/eirj.v2i2.119.

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The two-day workshop at the University of Warwick brought together early career researchers studying various aspects of textile history – production, consumption, trade, fashion, and design – with the aim of drawing broader conclusions about the role of textiles and clothing in the development of societies, cultures and economies. The methodological and geographical breadth of the presented research holds a promise that in the near future we will be presented with a much more global picture of textile production, consumption and trade in the early modern period.

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D’Itria, Erminia, and Chiara Colombi. "Biobased Innovation as a Fashion and Textile Design Must: A European Perspective." Sustainability 14, no. 1 (January 5, 2022): 570. http://dx.doi.org/10.3390/su14010570.

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Fashion industry investments drive the choice for textile solutions characterized by radical experimentation and a firm commitment to sustainability. In the last five years, textile innovations have been strongly related to biobased textile solutions evolving to become effectively feasible and strategic. The produced qualitative knowledge implementations consider new production patterns, innovative technical and digital know-how, and new consumption scenarios. The directions the industry is tracing may provide new opportunities for future textile development in the circular biobased economy. This paper presents a map of current European practices. It discusses the possible passage through a holistic paradigm that goes beyond the boundaries of the old productive systems to accompany the sector towards a new sustainable and transversal state. It also presents three selected best practices that return the actual context in which the phenomenon occurs. A model is presented to demonstrate how these circular processes of biobased materials production enable more process innovations which are developed through implementing the process itself: companies’ search for rethinking and implementing the traditional practices or designing new ones (as determined by the doctoral research of one of the authors).

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Radclyffe-Thomas, Natascha. "Rescuing textile waste: Q&A with Dr Christina Dean, founder and board chair, Redress." International Journal of Sustainable Fashion & Textiles 1, no. 1 (April 1, 2022): 149–58. http://dx.doi.org/10.1386/sft/0007_7.

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Environmental pollution caused by textile waste is an increasing and urgent issue for the global fashion industry. Redress is a pioneering NGO working since 2007 to minimize fashion’s negative impacts and promote a more sustainable industry through circular economy practices including zero-waste design and upcycling. In this interview, Professor Natascha Radclyffe-Thomas of the British School of Fashion invites Redress Founder Dr Christina Dean to share insights into their innovative industry, consumer and education initiatives including the Redress Design Award, the world’s largest sustainable fashion competition and a new luxury social impact business The R-Collective accelerating sustainability and circularity by rescuing, reusing and recycling luxury and premium waste materials.

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JASMINKA, KONČIĆ, and ŠČAPEC JOSIPA. "3D print additive technology as a form of textile material substitute in clothing design – interdisciplinary approach in designing corsets and fashion accessories." Industria Textila 69, no. 03 (July 1, 2018): 190–96. http://dx.doi.org/10.35530/it.069.03.1430.

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This research paper enquires into the application of 3D print additive technology in fashion design. The research aims to find the design options for garments by substituting the textile material with new technological solutions. The focus of the paper is the interdisciplinary research of innovative corset and fashion accessories designs made using 3D print additive technologies. The main focus of the work is the interdisciplinary process of creating clothes ranging from preliminary sketches to prototypes within three different areas: contemporary art, fashion design and additive technology.

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LaVey, A. M. "Reading Belarus: The Evolving Semiosis of Belarusian Textiles." Journal of Belarusian Studies 11, no. 2 (October 29, 2021): 175–205. http://dx.doi.org/10.30965/20526512-12350011.

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Abstract This paper analyses the communicative features of traditional Belarusian textiles and embroidery, exploring their history and their use as cultural code from the earliest times to the present. Using cultural semiotic analysis, the article highlights the evolving statements textiles make in regard to contemporary Belarusian culture, with specific attention being paid to the use of textiles in the months surrounding the 2020 presidential election and its aftermath, as well as engaging current fashion design. This paper, combating ideas of Belarusian invisibility, brings to light how textiles are and continue to be symbols and visual expressions of Belarusian cultural identity, and will be useful to scholars and students in the fields of art history, Belarusian studies, cultural studies, semiotics, Slavistics, and textile, costume and fashion studies.

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TANZIL, MARINI YUNITA. "PENERAPAN INSPIRASI FAUNA DAN FLORA SUMATERA TERHADAP PERANCANGAN MOTIF TEKSTIL KONTEMPORER." Serat Rupa Journal of Design 2, no. 2 (July 25, 2018): 130. http://dx.doi.org/10.28932/srjd.v2i2.781.

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Indonesian has a very rich, unique, and priceless biodiversity and natural resources. Featuring this national treasure is the aim of this research, especially the fauna and flora endemic to Sumatra Island. This research is executed through descriptive qualitative method by exploration and literature study for the first stage and design implementation for the second stage. The first stage contains exploration on Sumatran flora and fauna, batik motifs, contemporary textile design, color composition and trend. The finding of the research is presented at the second stage through contemporary textile motif as the design implementation that can be applied to fashion products. Expectantly, this research can provide guideline and inspiration for textile and fashion designers in developing contemporary textile motifs that take inspirations from the nature and culture of Indonesia.

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Dai, Zhaojue. "Research On Digital Design Customization and Industrialization Application Path of National Trend Clothing." Academic Journal of Science and Technology 4, no. 2 (January 4, 2023): 54–57. http://dx.doi.org/10.54097/ajst.v4i2.3902.

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"Guocao" is the external expression form of Chinese culture confidence, from the development of Chinese elements to Chinese products and then upgrade to Chinese brands, and finally toward the Chinese tide brand, has been conscious of the creative concept of patriotism deeply rooted in the hearts of the people. Among them, the key is to integrate Guocao textile and clothing brand design into digital technology quickly and to organically integrate Chinese traditional excellent culture with Guocao brand digital design and customization. According to the development environment of the fashion industry and the consumer groups of Guocao in combination with the specific digital design and performance examples of the fashion industry, through the original design of the story of the Dongfang series of fashion brands, the path of the digital design and customization of the fashion industry is proposed, the background of the digital assets of the fashion pattern database is built, and the digital avatar database is built with the customer groups of Guocao brand as the channel. Based on customer terminal demand, the original design of national fashion, further promote the deep integration of fashion brand digital design customization and textile and clothing brand promotion, to achieve digital empowerment of national fashion.

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Chung, Ha Jeong, and Juhee Park. "Fashion-textile Design Applying the Formative Principle of Paisley Ornament." Journal of the Korean Society of Costume 70, no. 4 (August 31, 2020): 20–40. http://dx.doi.org/10.7233/jksc.2020.70.4.020.

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Sun, Mengjie. "Research and Application of Biomimetic Textile Materials in Fashion Design." IOP Conference Series: Earth and Environmental Science 440 (March 19, 2020): 022069. http://dx.doi.org/10.1088/1755-1315/440/2/022069.

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M.C., NG, Frankie, HU Jinlian, SZETO Yu-cheung, and WANG Xueqin. "Integrated Design of Seamless Fashion in Woven Textile with Multilayer." Research Journal of Textile and Apparel 11, no. 2 (May 2007): 67–74. http://dx.doi.org/10.1108/rjta-11-02-2007-b008.

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윤지일 and Lee Youn Hee. "Rusty Images Applied Fashion Design - For Digital Textile Printing Method -." Research Journal of the Costume Culture 18, no. 5 (October 2010): 1003–16. http://dx.doi.org/10.29049/rjcc.2010.18.5.1003.

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Lee, Chai Young. "Development of Fashion Textile Design Based on Brutalism Expression Characteristics." Journal of Basic Design & Art 23, no. 6 (December 31, 2022): 367–82. http://dx.doi.org/10.47294/ksbda.23.6.25.

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Mežinska, Silvija, Ilmārs Kangro, Edgars Zaicevs, and Gunta Salmane. "THE EFFECT OF 3D PRINTING ON A TEXTILE FABRIC." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 729. http://dx.doi.org/10.17770/sie2020vol5.5012.

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3D printing capabilities are also used in the fashion and textile industries. 3D printed textiles are a new opportunity to create an individual design. Traditional textile structures can be interpreted using 3D printing technologies and materials. One of the most important factors associated with the use of 3D printing technology is to reduce the impact of processing on the physical properties of textile fabrics. Availability of 3D printers at Rezekne Academy of Technologies (RTA) provides experimental work with fabrics of different thickness and fibres as well as different filaments. This study is based on the analysis of synthetic fibre cloth processing and the effect of 3D printing parameters on textile materials. By applying successive layers of materials, the interaction between 3D printing and textiles is studied. In terms of adhesion and stability, the best adhesion parameters for a particular type of fabric are determined by analysing the type of the fabric. The variance analysis method is used to process the research results.

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Ruckdashel, Rebecca R., Ninad Khadse, and Jay Hoon Park. "Smart E-Textiles: Overview of Components and Outlook." Sensors 22, no. 16 (August 13, 2022): 6055. http://dx.doi.org/10.3390/s22166055.

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Smart textiles have gained great interest from academia and industries alike, spanning interdisciplinary efforts from materials science, electrical engineering, art, design, and computer science. While recent innovation has been promising, unmet needs between the commercial and academic sectors are pronounced in this field, especially for electronic-based textiles, or e-textiles. In this review, we aim to address the gap by (i) holistically investigating e-textiles’ constituents and their evolution, (ii) identifying the needs and roles of each discipline and sector, and (iii) addressing the gaps between them. The components of e-textiles—base fabrics, interconnects, sensors, actuators, computers, and power storage/generation—can be made at multiscale levels of textile, e.g., fiber, yarn, fabric, coatings, and embellishments. The applications, current state, and sustainable future directions for e-textile fields are discussed, which encompasses health monitoring, soft robotics, education, and fashion applications.

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Esparza, Ryan. "En Vogue: The Risks of Brexit to the European Fashion Industry." International Journal of Legal Information 46, no. 3 (November 2018): 163–75. http://dx.doi.org/10.1017/jli.2018.37.

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Coco Channel, Yves Saint Laurent, Gianni Versace, and Thomas Burberry, all iconic names that are synonymous with fashion and the fashion industry. Further, they are all European designers. From Paris Fashion Week to Milan Fashion Week, Europe is arguably the center of emerging fashion. It can be theorized that the reason for strong intellectual property rights within the European Union (EU), in the area of fashion design, is due to the significance of the fashion industry within Europe. Within the EU, there has long been a recognition of the significance of design protection, which sets its IP protection apart from other places in the world. Several of the protections that the EU has implemented can be traced back historically to attempts by the countries in the region to protect their textile markets, and to protect regional innovations which were being developed within early textile industries. Even in the early stages of the EU's history, there were attempts to create uniformity within the area of design. The desire to create uniformity in this area is continuous, but Brexit threatens a path towards uniformity.

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Zhang, Jun Hua. "The Historical Origin between Shandong Folk Art and Modern Fashion Design." Advanced Materials Research 1048 (October 2014): 250–53. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.250.

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Shandong folk art, full of artistic connotation, has a long history, which is an important source of fashion design. This article makes an analysis of the specific application and embodiment about the Shandong folk art elements in modern fashion design fabrics, styles, colors from the Shandong traditional paper-cut art, ceramics, painting, textile technology and fashion design style, and so on. At last, it puts forward the viewpoint of drawing lessons from the traditional folk art the creation of humanity, design pattern and heritage enrichment in the modern fashion design.

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Šahta, Ingrīda, Ilze Baltiņa, and Madara Pūce. "INNOVATIVE SOLUTIONS IN TEXTILE DEVELOPMENT." Latgale National Economy Research 1, no. 4 (June 23, 2012): 329. http://dx.doi.org/10.17770/lner2012vol1.4.1840.

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Currently textiles are mainly produced in Asian countries. In Europe during the last years the textile production is sharply reduced. For the most part there are working those companies that have found a specific niche or flocked to the production of technical textile. Consequently, in Latvia the companies in this sector should also think about their products that could be able to compete on the open market. Textile with integrated electrical systems is a research area that combines innovations both in textile sector and electronics, as well as electrical engineering etc. The integration of Light emitting diodes in the textile products allows assigning of additional functions, such as the visibility on the street, or may serve as a fashion design. The paper provides analysis for applications of the opportunities of smart textile, the costs of production and materials, and the potential problems in the production process, as well as the possible ecological problems by manufacture, wear and recycling are also discussed. Some practical textile solutions with integrated electrical systems and LEDs are also offered.

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TJANDRAWIBAWA, PAULINA. "MOTIF TEKSTIL SEBAGAI VALUE PROPOSITION KOLEKSI BRAND FESYEN YANG MARKETABLE." Serat Rupa Journal of Design 2, no. 1 (January 19, 2018): 26. http://dx.doi.org/10.28932/srjd.v2i1.475.

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Fashion industry in Indonesia is increasing from year to year and so does the competition between fashion brands. The Indonesian Creative industry players by 2020 to grow by 8.4 million and dominated by young adults. With the many fashion brands that emerge, a brand needs more value propositions to make their product stand out and marketable. This journal will present how graphic motif on textile can be used by fashion brands as their product’s value proposition and convert it into marketable products. Research method will be presents through qualitative method in the form of direct interview with fashion brand owner and supported by literature study and observation. This writing aims to help fashion business owners to comprehend the design concept as value position for their collection. Keywords: fashion, motif; pattern; textile; value proposition

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Bai, Zi-qian, Jeanne Tan, Clare Frances Johnston, and Xiao-Ming Tao. "Connexion." International Journal of Clothing Science and Technology 27, no. 6 (November 2, 2015): 870–94. http://dx.doi.org/10.1108/ijcst-05-2014-0058.

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Purpose – The purpose of this paper is to investigate how electronic components can be utilized and integrated into polymeric optical fibre (POF) textiles to refine the design aesthetic, tactile quality and initiate the interaction of textiles with the users; and to study the design process of interactive products by using a novel design process model. Design/methodology/approach – Fashion and textile design methods, textile technology are used in combination with modern technologies such as laser engraving, sensing, short-distance communication technology, throughout the entire process of development of interactive photonics creations. Findings – The results of evaluation indicate that the engineered prototypes can enhance the interactive function of interior furnishing. The usability of interactive POF cushions is optimized by innovative design methods considering both design and technology. Originality/value – This research explores to combine knowledge from different disciplines, including textile, electronics, sensor and laser to create interactive soft furnishings. The inter-disciplinary research provides a new perspective on how POF fabric can be utilized as a new media to change the way people interact with their living surroundings. The interior soft furnishings are no longer unresponsive to people, but can react to them, adapt to their behaviors, change color according to their preferences and therefore merge into our daily life. The developed prototypes reshape interior soft furnishing, and therefore have both theoretical and practical significance.

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Gupta, Mohini, and Swati Gangwar. "ADAPTATION OF DESIGNS FOR TEXTILE PRODUCTS INSPIRED FROM MADHUBANI PAINTING." International Journal of Research -GRANTHAALAYAH 4, no. 5 (May 31, 2016): 115–25. http://dx.doi.org/10.29121/granthaalayah.v4.i5.2016.2687.

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Madhubani art of the Bihar state has been undergoing transition where its application in original composition has been declined owing to social and economic changes now-a-days. There is need to explore possibilities for the conservation of this art form viz other artistic media for future generations. The reason for using traditional motifs in textiles is to keep our designs or motifs alive. The Indian folk arts with painting play important role in creating new designs. Escalating demands of consumers requires modification in the fashion industry with respect to design, colour, style and technique. So in an effort to add another dimension in the application of Madhubani designs on textiles, the present study was planned. The effort was targeted towards finding the possibility of applying Madhubani designs on textile articles utilizing the hand painting. Madhubani motifs/designs were adapted for center design and border design. Total thirty six motifs / designs were developed keeping in mind their suitability for articles like cushion cover, folder and table cloth. Developed design sheets were subjected to visual evaluation for selection of one best design in each category by the panel of thirty respondents to find out the suitability of the developed designs for hand painting. Finally three articles were prepared by using selected designs and these prepared articles were highly appreciated by the respondents.

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Utami, Sri, Igb Bayu Baruna Ariesta, and Nyoman Ayu Permata Dewi. "Kesenian Eco-print Hapazome pada Tekstil sebagai Antitesis Environmentally Unfriendly Textile Dyestuff." Abdi Seni 13, no. 2 (December 15, 2022): 91–97. http://dx.doi.org/10.33153/abdiseni.v13i2.4230.

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Today’s fashion business is concerned about the environmentally unfriendly or ecologically unfavorable problem of textile industry waste. It is well recognized that dyes have hazardous effects on living organisms, and industrial textile waste in general can be in the form of effluents (liquid waste) including dye residual substances. Because it contaminates the water, textile dye waste is particularly unfavorable to the environment. Based on this, researchers design a textile using the Hapazome dyeing technique, which is an eco-friendly method of dying. This method falls under the category of eco-printing or natural printing. Hapazome technical art is one of the Japanese art which means leaf-dye. By hitting the leaf’s top surface against a piece of fabric, researchers apply Hapazome technique which can create a copy of the leaf’s motif form on fabric. The motifs designed by researchers in the creation of textiles were chosen from one of Balinese cultures, that is, Balinese script. The choice of Balinese script as the primary theme for creating textile designs attempts to demonstrate one of Balinese local identities. Thus, the nuances and characteristics of the local Balinese are built into the fabrics that researchers created. Using the approach of art creation, research is done on the art of eco-printing Hapazome on textiles as the antithesis of environmentally unfriendly textile dyestuff. The method of art creation is a way of systematically putting a work of art into real.

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Craik, Jennifer. "Challenges for Australian fashion." Journal of Fashion Marketing and Management 19, no. 1 (March 9, 2015): 56–68. http://dx.doi.org/10.1108/jfmm-03-2014-0017.

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Purpose – The purpose of this paper is to examine the challenges facing the Australian fashion industry (textile, clothing and footwear or TCF sector). Just at the point where Australian fashion has achieved international attention for its distinctive design practice, the industry is on the point of collapse. Since the 1980s, radical re-structuring aimed at reducing industry protection to encourage greater international competitiveness and innovation. Key policies have included tariff reduction, new forms of industry assistance, new manufacturing techniques, changing retail forms, and reform of employment and workplace conditions. Design/methodology/approach – Overview of recent trends in the Australian fashion industry due to industry policies and the effects of globalisation. Findings – Severe decline in industry viability. Originality/value – Important multifaceted analysis of the state of the industry and tracking of effects of government policies.

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Journal articles on the topic 'Textile and Fashion Design'

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