Design Fabrication Research Articles

Smart Textile Sun-Shading

The research project ADAPTEX pursues the goal of developing adaptive, energy-efficient textile sun shading systems using the smart material Shape Memory Alloy (SMA). Within this approach lies a high potential for novel sun protection systems demanding little energy or even self-sufficiently adapting to external stimuli while reducing operation and maintenance costs and at the same time offering solutions to tackle growing demand for sun and glare protection. A Design Categories Matrix is presented that brings together various involved fields from textile design and facade construction to smart material development. Based on this, two concepts have been further elaborated: ADAPTEX Wave and Mesh. Both incorporate SMA into textile structures but express different design and performance potential by changing the geometry and openness factor of the surface area. For further evaluation, various functional prototypes that scale up from 0.2 x 0.2 m to 1.35 x 2.80 m are developed and reviewed. The buildability and functionality of SMA-driven textile sun shading systems that incorporate requirements from the various involved fields are verified. The feasibility of parallel ADAPTEX Wave and Mesh were assessed in comparison to the performance of state-of-the-art sun shading systems. The technological ideas are subsequently optimised and scaled up in various cycles for follow-up testing in both indoor and outdoor environments.

Designing and Living with Organisms Weaving Entangled Worlds as Doing Multispecies Philosophy

The emergence of biodesign opens new ways for textile design and production processes by e.g. using living organisms directly for growing or dyeing textiles. Researchers and designers who engage in such practices often describe their processes as a collaboration with the living. Since maintenance or acts of caring are often fundamental for a successful result, supportive environments for the living are created. However, most of the organisms are only used to carry out a specific task given by the designers’ intention, e.g., excreting pigments to dye a piece of silk, and are killed after the successful completion of the “collaborative” project, which is one of the reasons why the anthropocentric perspective remains an integral part of the textile design process. This research aims to challenge the anthropocentrism inherent in textile design methodologies. Drawing from the work of Donna Haraway, in this exploratory paper, I advocate for exploring more than anthropocentric and multispecies perspectives to textile design by understanding the textile design practice as a way of being-with and staying-with, rather than as a solution-driven practice. Therefore, I revisit and reflect on three stories that derived from encounters between humans and insects in shared textile contexts. The stories on multispecies cohabitation resulted from the autobiographic research ‘Textile Farming’. Weaving connections between contemporary approaches to design, this paper proposes a conceptual framework of the levels that designers can engage with the living e.g., designing with, for, or together with living organisms up to living-with and becoming-with. I found these reflections to offer valuable perspectives to reflect on, analyze, and discuss processes in which living organisms play a role. Consequently, the paper contributes to reflective practice and opens up the textile design practice towards open-ended events as a more than anthropocentric approach to designing textiles.

Enhancing the Performance of Fabric-Based Triboelectric Nanogenerators by Structural and Chemical Modification

Fabric-based triboelectric nanogenerators (TENGs) are promising candidates as wearable energy-harvesting devices and self-powered sensors. Booting the power generation performance is an eternal pursuit for TENGs. Herein, an efficient approach was proposed to enhance the triboelectric performance of commercial velvet fabric by enriching the fiber surface with hierarchical structures and amide bonds through chemical grafting of carbon nanotube (CNT) and poly(ethylenimine) (PEI) via a polyamidation reaction. With an optimized modifier concentration, the fabric-based TENG easily achieved over 10 times improvement in output voltage and current at a low modifier content of less than 1 wt %. The modified-fabric-based TENG was fully washable and exhibited excellent robustness and long-term stability. With a maximum power density of 3.2 W/m2 achieved on a 5 × 106 Ω external resistor, the TENG was able to serve as a power source for various small electronics such as pedometer, digital watch, calculator, and digital timer. In addition, the TENG demonstrated capability in self-powered tactile and pressure sensing and promising potential in human-computer interface applications. The approach proposed provides a feasible path for boosting the triboelectric performance of fabric-based TENGs and gives insights into the design of fabric-based nanogenerators and smart textiles.

Ukrainian Folk Ornaments in Modern Knitting

National arts and crafts are not only the skills of an individual nation but an ethnic phenomenon that has unique features and serves as a source of information on national history and culture. Decorative and applied art in Ukraine combines the traditions and techniques of manufacturing and decoration, which have been developed and passed down from generation to generation. It has a clear national identity and numerous regional differences in ornamental motifs, compositions and favourite colours. Therefore, the Ukrainian folk art has a significant potential and is a source of ideas in creating modern clothing as well as interior items. Embroidery as a way of creating ornamental motifs on a textile material using various techniques is a common process for decorating clothes and interiors for the Ukrainians. Today, ornamental compositions of embroidered folk textiles could be transmitted into modern clothes using various technologies. However, the use of a knitting machine allows creating a pattern during the item production. The ornament transformation into a pattern for knitting can be carried out with graphic software by creating a grid with a cell size similar to the loop size of a knitted structure for corresponding interlooping. A number of clothing and interior items with ethnic motifs was created using the capabilities of flat knitting machines within the masters programme “Knitting Technology and Design” at the Textile Technology and Design Department of the Kyiv National University of Technologies and Design.

Movement-Based Interactive Textiles Design for Emotion Regulation

OVERVIEW Textiles have always been an important carrier for people to express their emotions. Wearable technology brings the power of computing closer to body, which has led to the rising focus of the design of bodily emotion-related interactive textiles. Body engaged affective design for emotion regulation has become a trend in the field of games and interactive art, but the advantages of interactive textiles in this field have not been systematically studied and fully developed. This research aims to explore ways to enhance the potential of smart textiles in assisting emotion regulation of users with movement-based interaction. The research follows the Research through Design approach. Preliminary results show that several different emotion regulation strategies can be applied to the design of movement-based interactive textiles. This research offers a new perspective on the potential of emotion regulation with interactive textiles and will contribute to a deeper understanding of movement engaged affective design.

The influence of colour mixtures on the textural perception of surface design: Deciphering textile methodology in the field of bioplastic design

AbstractIn textile design, the characteristics of a textured surface are the result of the properties of the materials, the textile techniques used, and the colour mixtures associated with each technique. The perception of colour on textured textiles is dependent on the angles of viewing and incidence of light on the surface. Accordingly, when analyzing the perception of the colour of pile textiles such as velvet, we observe that the orientation of the piles on the surface affects the perception of colour. The perception of colour and its transformation depends on whether the light is reflected off the side or the end of the yarn. By bringing do it yourself (DIY) materials into the textile design field, this research questions how biomaterials such as bioplastic can be further developed using textile surface design methods, and how the relationship between texture and colours can be advanced in the design of complex textured surfaces. The method develops a hybrid strategy for designing a new material category combining DIY and digital tools, which offers a more sustainable alternative to conventional textile materials. Moreover, the method proposed builds on two major aspects: explorations of bioplastic materials and their impacts on colour design and selection, and an analysis of changes in the visual perception of coloured surfaces with regard to differences in texture, the positioning of a light source, and angle of viewing. The results are methods of creating complex colour combinations and textural surfaces using near‐adjacent and complementary colours and the intrinsic transparency property of bioplastics.

(e)Textile New Materialities

This paper explores the intersections within bodily materialism and future textiles by inquiring into embodied practices and materiality in care. By placing the body as a site of research, it centres around concepts of bodily care and the body as an ecosystem, one that is always in flux and considers the fluidity of bodies and bodily fluids, such as urine, discharge, breath and sweat, as fluids with potential to design with. It looks at how bodies are acted upon by outside forces, and explore more-than-human relations as co-creators in co-habiting the space of the body and that around it. To illustrate this, the paper introduces a series of design research artefacts that take a variety of approaches to exploring the materiality of care in the everyday. First, an eTextile toolkit that aims to create bodily awareness through hands-on engagement with textile crafting technology, then a biotextile harvesting toolkit that involves the raw material of the intimate body that explores DIYbio in the context of the home, and lastly a set of wearable living material-based explorations that recognize biomimicry and symbiotic relationships in designing for chronic stress. In embracing notions of bodily materialism, this paper explores the bodily abject, i.e. fluids and the more-than-human as crucial to engendering new modes of knowing in intimate and personal care through textile-based materials. The paper engages critically with textile design research and practice by placing material that embraces care as ambivalent at the forefront and thus challenging traditional approaches to health and care and, importantly, the design of future textiles.

CREATIVE CONCEPTS OF FOLK COSTUME IN REGIONAL SCHOOLS OF UKRAINE

The author of the article highlights and gives analysis of activities of the main Regional Art Schools, which study and use the folk costume in modern creative work, in clothing design, in particular. She considers the conceptual foundations of the formation of the content of educational programs, based on deep penetration into the tradition and ability to develop and apply it in creative interpretation. The author traces the way in which a constant renewal and improvement of the educational and creative processes and the main academic foundations of art education take place, considering the development of relevant creative and methodological issues in contemporary rapidly changing socio-cultural space.The analysis of the activities of the leading Ukrainian higher educational institutions, which systematically use folk art in educational design, is carried out: Lviv National Academy of Arts, Kyiv National University of Technology and Design and Kosiv Institute of Applied and Decorative Arts of Lviv National Academy of Arts. The concepts of the clothing design departments of these Schools are assessed in historical context. The author singles out the personalities of the leading teachers, who introduce stylistics of the use of folk cut, decoration, colour and decor in the course and diploma clothing design in a traditional way, close to the ethnographic sample.The ways of the development of design education are proposed, aimed at a comprehensive scientific understanding and creative conceptualization of the traditions of national culture, professional art and design, methodological extension of specialized art education in Ukraine, their rapprochement with the topical issues of the world culture and the latest trends in modern clothing design.Key words. Design education, Regional Art School, interpretation, tradition, folk costume, fashion and textile design.

Project-based learning for undergraduate engineering students minoring in textile technology and design

The experience of application of methods of problem-based and project-based learning was described in the training of future engineers for the light industry. Methodological issues are considered, as well as practical recommendations are formulated, for the application of these methods in teaching professionally-oriented disciplines. Examples of project design and their content are given for two specialised disciplines. They are aimed at the development of students’ ability to creative thinking and problem-solving when working both independently and in a team. The method effectiveness is illustrated by the formation of students’ new competencies, and an increase in their motivation and experience in teamwork. The preferred styles of students’ learning were studied for student groups of four different enrolment years. The learning preferences are relatively stable over the four study years. On average, engineering students minoring in textile engineering and design demonstrate a tendency to active, visual, sensing and sequential learning styles. Project-based teaching methods are not universally suitable for students with different learning preferences. Moreover, the success in projecting under the studied conditions correlates with the existing learning preferences of student teams. Student teams succeed in the implementation of projects if they have a balance in the ref-act dimension with a limited preference of the active style. In other words, excessive activity and lack of reflective reflection hindered the successful completion of projects. In the sen-int dimension, the presence of a pronounced sensitive style is also favourable for design and implementation of class projects. Successes in projecting are mostly insensitive to changes in the vis-vrb and seq-glo dimensions. The introduction of the problem and project-based learning methods is useful for engineering students. They acquire new competencies, gain real experience of teamwork, and increase motivation to learn and develop creativity.

Innovative design formulas for formal structural systems of Coronavirus and their use in spreading health awareness for children

Scientific development and biological theories gave the artist the opportunity to find constructive design formulas that can be used. Also, the study of nature led to the emergence of biology that deals with the study of cells and viruses that provides the opportunity to study the formal structure of natural elements and extract their systems then translate them into structural design systems. This research deals with studying the external structural systems of Coronavirus to spread health awareness by producing multiple formulas that enrich the fields of design, From here, the research problem determined to what extent the possibility of extracting innovative design formulas in the fields of textile printing design and decorative design through the structural formal systems of the Coronavirus and using them in guiding children and spreading health awareness? The research aims to enrich the entrances of formation in the fields of textile printing and decorative design by paying attention to the formal structure of Coronavirus and producing multiple formulas and solutions that help guiding children and enriching the field of designing children's clothes. The importance of the research is to highlight the aesthetic values of the formal systems of Coronavirus, proposing design solutions for children's clothes aged from 10 to 15 years, through opening new horizons to reach creative solutions that enrich the fields of textile printing and decorative design to use them to guide children about Coronavirus through guiding sentences. The research assumes using formal structure of Coronavirus in extracting innovative design formulas and employing them to enrich children's clothes designs in both fields of textile printing and decorative design in which children can be guided from. The research has time limits that study the structural of Coronavirus in our time, and objective limits that focus on extracting design formulas through the formal structure of Coronavirus and using them in guiding children aged from 10 to 15 years and an experimental study to develop innovative design solutions for children's clothes. The research follows the descriptive, analytical and experimental approach by extracting design formulas from the structural and formal systems of Coronavirus and using them to guide children, also creating designs experiments and employment proposals for children's clothes to guide about Coronavirus. From the research results it is clear that the study of the formal systems of Coronavirus as an integrated holistic systems open a new field in the field of design in general and in the fields of textile printing design and decorative design in particular besides that the statistical study showed that there is a positive sign in favor of design and employment experiments, which indicates the validity of the hypotheses. Alternatives to endless design solutions that fulfill functional and aesthetic values in design and children's clothes. The research recommends paying attention to the structural and formal structure of Coronavirus as an integrated holistic systems based on the design formulas that enrich fields of design, opening new horizons and experimental visions that adopt the freedom of creativity in design by investing in the structural and formal systems of Coronavirus, and conducting more research related to Coronavirus that guide in publishing culture of health awareness among society and children in particular.

친환경 방염법을 활용한 지속가능한 텍스타일디자인 개발연구의 가치

2차 산업혁명 이후 섬유산업은 지금까지 꾸준히 발전해왔다. 그러나 함께 증가한 폐수 및 폐기물로 또 다른 환경적 문제를 만들었고, 이를 극복하기 위한 텍스타일 각계의 많은 노력이 펼쳐지고 있다. 이에 본 연구목적은 지속가능한 유형의 텍스타일 개발연구와 가치를 확산함에 있어 친환경적 왁스방염을 사용한 전통 기법과 2010년 이후 급성장된 디지털날염기법을 통해서 디자인과정을 기록하고 실험하여 교육현장 현재시점의 기초자료로 활용 할 수 있도록 한다. 연구내용과 방법은 첫째, 지속가능성 개념과 발생 배경 등 이론적 고찰을 한다. 또한 산업현장의 전문가들의 의견도 함께 수집한다. 둘째, 다양한 시각적 표현개발을 위해 전통 섬유기법을 활용한다. 이를 심화하기 위해 연구자가 선택한 소이왁스 방염법을 다양한 섬유소재에 실험·실습을 하고, 소이왁스 방염 텍스쳐를 살린 모티브를 디지털 기법을 활용해 색상정리와 리-디자인 한다. 셋째, 앞선 연구를 적용한 섬유소재들을 KATRI(한국의류 시험연구원)에 의뢰하여 견뢰도 및 염색성, 중금속 등 오염도 측정을 한다. 디지털 프린팅기법을 적용한 결과물을 한차례 더 추가 섬유시험을 의뢰하고 결과를 분석해 본다. 넷째, 이를 환경 친화적 기법의 텍스타일디자인 개발과정으로 제시해볼 수 있도록 취득된 세탁, 땀, 마찰, 일광견뢰도 측정과 인체 유해성분 검출 확인을 분석해본다. 최종 소이왁스방염 테스트결과 다섯 가지 종류의 직물 중 대체로 혼방 직물보다는 100% 한 성분으로 이루어진 천연직물의 견뢰도가 가장 우수했다. 또 아릴아민 등 인체에 유해한 유해물질은 검출되지 않았다. 두 번째 직물테스트 결과에서도 염색 견뢰도, 섬유제품의 KC안전도검사를 통해 양호한 pH와 포름알데히이드 성분, 알러지성 염료등의 유해성분은 검출되지 않았다. 이렇게 환경적 과정을 중시하고 전통기법을 활용한 디자인은 다변화하는 현대 텍스타일디자인의 산업적 기술을 이용하여 소비선호도 높은 디자인으로 제시하고 문화적 가치를 창출 할 수 있다.

인터렉티브 알고리즘에 의한 스트라이프 텍스타일 디자인 패턴 개발

텍스타일 디자인의 프로세스는 지역, 문화, 사회, 환경, 기술 등 다양한 분야의 영향을 받으며 변화하고 있다. 21세기에는 컴퓨터의 보급률 확대와 뉴미디어의 등장으로 보다 신속하고 창의적인 디자인 프로세스가 주목받고 있다. 본 논문은 자바 스크립트와 텍스트 기반 프로그램 언어인 프로세싱을 사용하여 알고리즘 기반 인터렉티브 텍스타일 디자인 패턴 생성을 시도하고 사용자 평가를 통해 텍스타일 디자인의 새로운 방법론으로 미래 시장성을 파악하고 산업화 방향에 기초자료를 제공하는 데 목적을 둔다. 본 논문에서는 스트라이프 패턴의 색상의 변화, 굵기와 간격의 변화를 마우스 움직임에 반응하는 인터렉티브 디자인 형태로 코딩한 사례와 애니메이션 효과를 넣은 사례를 제시한다. 평가 항목은 우연성, 신속성, 독창성, 유희성, 심미성으로 구분하여 디자인 전공자와 타전공자에게 체험하게 하고 반응을 비교 분석한다. 디자인 전공자와 타전공자 모두 인터렉티브 알고리즘 기반 스트라이프 생성 원리에 대한 체험 후 유희성과 신속성에 가장 높게 응답하였고, 두 그룹 모두 인터렉티브한 디자인 프로세스에 강한 관심을 표현하였다. 디자인 전공자는 직접 색상이나 간격을 조절할 수 있을 때 독창적인 디자인이라고 평가하였고, 디자인의 색상이 다양하게 변화될수록 심미성과 독창성을 높게 평가하였다. 색상과 간격과 넓이를 모두 복합적으로 제어하고 이들 변화의 다양한 경우의 수로 조합하여 만들어 내는 패턴일 때 두 그룹 모두 신속성, 독창성, 유희성, 심미성을 높게 평가하였다. 이를 통해 인터렉티브 알고리즘 기반 텍스타일 디자인의 사용자 참여 디자인 프로세스 상업화 가능성을 확인하였고 디자인 과정에서 빠르게 반응하며 생성되는 프로세스에 대한 신기함과 즐거움이 공존할 때 호감이 상승함을 확인하였다. 변화된 디자인 환경에서 독창적이고 심미적인 디자인 창조를 위한 견고한 알고리즘을 기반으로 개인적인 취향과 의사가 반영될 수 있다면 새로운 텍스타일 디자인 패턴 개발과 가치 창조 방향은 무궁무진할 것으로 사료된다.

A New Geometric Model of Laid-in Weft-Knitted Fabrics

Inlay yarn and laid-in structures are important technical knitting elements that have been increasingly applied in the structural design of functional textiles in industrial, medical, and wearable electronics fields. However, there is no currently established geometric model to numerically analyze their spatial morphologies and structural properties. This study presents a new geometric model and numerical analysis approach to characterize spatial configurations of inlay yarn and ground yarn in a three-dimensional scenario for laid-in weft-knitted fabrics. Loop lengths of the inlay and ground yarn materials were calculated and analyzed under different contact and deformation conditions to estimate material consumption in this complex interlooping layout. Series of laid-in weft-knitted fabrics made of different combinations of ground and inlay yarns were fabricated with the 1 × 1 laid-in loop pattern and tested for the model validation. The comparisons between the experimental and calculated results indicated that the newly developed geometric model favorably agreed with the experimental measurements regarding the ground loop lengths and inlay loop lengths applied in the laid-in weft-knitted structures. The results indicated the applicability of the developed geometric model of laid-in weft-knitted fabrics with similar structural patterns in practical use. The output of this study provides a theoretical and practical reference for structural and physical properties analysis, material consumption prediction, even cost estimation of laid-in weft-knitted fabrics.

From the Earth to Electricity: The Scientific Craft of Electro-Metallised Textiles

Since the late nineteenth century metallised textiles created by electricity and chemistry have been impersonating and combining with precious metal in finishes, treatments and embellishment. During the early twentieth century, innovation in the metallisation of aluminium could be seen through the process of bonding and coating. Indeed, amongst the traditional craft techniques used to imbue exquisite garments, ceremonial dress and treasured artefacts with gold, silver and copper, sits the transformative electro-chemical science of making. In this article I will discuss the historical development, techniques and renewed interest in processing associated with electrodeposition and textiles. It first charts ancient metallurgical work on materials, created by chemical reaction. It then explores nineteenth century innovation in electrochemistry and electrometallurgy that led to the earliest rare examples of electrodeposition on cloth, thread and yarn used in transport, jewellery and dress. It will then move onto how renewed interest in the magic of electrodeposition has begun to transform the creation of bespoke metal textiles; eclectically and aesthetically driven by seminal contemporary practice-based research and thought-provoking work in laboratory-based textiles. It considers the artistry, control and scientific underpinning needed and gives examples of unconventional processing led by a small group of ground-breaking studio textile designers in the United Kingdom (UK), Belgium and Hong Kong. I will pose the question: is interdisciplinary exploration at the forefront of twenty-first century textile design? As such the article reviews the interplay between chemistry and design; the interface between historic and contemporary techniques analysing how the potential glimpsed in past patents by inventors and methodologies from artisan manufacturing and the metal finishing industry can be drawn upon to create forward thinking designs and materials in fashion and textiles.

Influence of re-entrant hexagonal structure and helical auxetic yarn on the tensile and auxetic behavior of parametric fabrics

This paper focuses on systematically analyzing the influence of macro fabric structure and yarn architecture on the mechanical and auxetic performance of parametric auxetic fabrics. Re-entrant hexagonal (REH) and helical auxetic yarn (HAY) were adopted as a macro fabric structure and weft yarn to produce three kinds of auxetic fabrics: REH fabric with HAY as weft yarn (REH-HAY); REH fabric with elastic yarn as weft yarn (REH-1, REH-2, REH-3); and plain fabric with HAY as weft yarn (NREH-HAY). By controlling the existence of the HAY and REH structure, the influence of the REH structure and HAY on the mechanical and auxetic properties was thoroughly analyzed. It is demonstrated that both the REH macrostructure and HAY micro configuration can contribute to the performance of the auxetic fabric. Specifically, in the presence of the REH structure and HAY, the auxeticity was found to a 77% increase compared with NREH-HAY and the breaking strain and load rises by about 37.50% and 90.42%, respectively. Notably, the variation of the polyurethane (PU) weft yarn per unit length influenced the tensile and auxetic performance to a lesser extent, while by changing PU to HAY, a significant increase of negative Poisson’s ratio value from –1.155 to –1.492 was noticed without greatly jeopardizing the stretchability. Furthermore, the cyclic tensile results demonstrate the stability and elasticity of the fabric. The comparative analysis can give guidance to optimize fabric design and inspire the innovative design of the auxetic textiles, all of which will pave the way for a quantitative and optimizing design for auxetic textiles.

Craft based assignments of undergraduate textile design students: Multiple case study

Modern textile design education is based on skill and practice. To inculcate the required expertise, contemporary educators used craft-based assignments. Many designers and artists consider designing high-tech products to start with sketching and drawing, paper, and a pencil. The visualization of design is a broad idea. It involves the cognitive critical and technical thinking of the designer. The present study discussed different approaches to visualization and elucidation. Craft based assignment is the foundation of the design process, where undergraduate textile design students experienced design development. The present study is a multi-case study. Data were collected from three assignments in textile design education. It’s a departmental case study where three cases were studies under the supervision of three textile design instructors. The outcomes demonstrated that, through craftsmanship training, the students found perception and explanation methods that were beforehand obscure to them and that they would not have thought of themselves. The study plan focused more on the thought and the outline sentiment than on the subtleties while applying the new strategies. The study shows that rough techniques seem to offer undergraduate textile design students a more robust visualization method and lower their creating threshold. The outcomes may be useful for teachers when planning craft projects that include a complete craft process that promotes undergraduate textile design students’ own creativity and ideas. Through a well-planned craft project, it is possible to combine knowledge of different courses and promote essential skills in overall learning and education.

The Wardle Family and Its Circle: Textile Production in the Arts and Crafts Era

Brenda M. King’s The Wardle Family and Its Circle: Textile Production in the Arts and Crafts Era is a welcome addition to literature already available on textile history of the late nineteenth and early twentieth centuries. Told through the accomplishments of the extended Wardle family, the book charts personal and family successes in both business and personal affairs. These often impressive accomplishments, seemingly so vital to the achievements of some of the most notorious Arts and Crafts designers, have until now been overlooked. This text, which unifies a family history within a much broader crafting context, is hugely significant in establishing one family’s influence on textile design and manufacturing at this time. Admirers of the Arts and Crafts movement will no doubt be aware of works produced by William Morris, Walter Crane, and Arthur Lasenby Liberty. Perhaps they will also know of the companies that surrounded their success. Yet, what...

Material-Driven Textile Design (MDTD): A Methodology for Designing Circular Material-Driven Fabrication and Finishing Processes in the Materials Science Laboratory

In the context of the circular economy, materials in scientific development present opportunities for material design processes that begin at a raw state, before being introduced into established processes and applications. The common separation of the scientific development of materials from design intervention results in a lack of methodological approaches enabling designers to inform new processes that respond to new material properties. This paper presents the results of a PhD investigation that led to the development and application of a Material-Driven Textile Design (MDTD) methodology for design research based in the materials science laboratory. It also presents the development of the fabrication of a textile composite with regenerated cellulose obtained from waste textiles, resulting from the MDTD methodology informing novel textile processes. The methods and practice which make up this methodology include distinct phases of exploration, translation and activation, and were developed via three design-led research residencies in materials science laboratories in Europe. The MDTD methodology proposes an approach to design research in a scientific setting that is decoupled from a specific product or application in order to lift disciplinary boundaries for the development of circular material-driven fabrication and finishing processes at the intersection of materials science and design.

UKRAINIAN TEXTILES AS AN INTEGRAL PART OF MODERN DESIGN: EVOLUTION, PERSPECTIVES

The article reflects the main stages of the formation of design in the field of textiles. It is analyzed the current state of development of textile art, marked features of modern techniques and genres, given examples of textile art and design in some regions of Ukraine, outlined the lack of professional analysis of modern techniques and means of creating modern textile design products. It is shown that the emergence of design as a special type of design and artistic activity is associated with the final stage of the first industrial revolution in the late 19th century. The division of work, which emerged later, led to the creation of manufactories, which were replaced by the machine production of weaving factories. Making textiles from artisanal craft production turned into a special kind of art and design activity and, accordingly, a textile designer, new profession, began to form. It is shown that in the 90's of the twentieth century there was a change of principles of shaping. The main distinguishing feature of the works of textile design from the works of arts and crafts is a systematic approach to the created thing, namely: a scientific approach to the design; innovative shaping; interaction with the space; the use of new technologies and materials; expanding the palette of artistic and technological means, which allow you to combine them multivariably to get new original solutions; artistic simulation of the object environment in conventional forms and materials (layouts, sketches, experimental search for form); improving the quality of the product. The focus on creating a harmonious object-spatial environment at the end of the twentieth century has intensified the efforts of artists of all kinds and genres of art. It was found that the sphere of artistic design of textile products, the selection of pattern and coloring, for the fabric of the appropriate texture, as well as the issue of perception of the artistic image of these works of textile design as a holistic system, have been insufficiently studied. The expressive means of artistic textile of the XXI century increasingly attract the attention of contemporary artists. Modern genre diversity of works covers all levels: thematic, formational, ornamental, technological and embodies the idea of self-sufficiency of artistic creativity in textiles. The works are full of deep emotionality and extreme figurative expressiveness, which makes it possible to integrate into the European environment.

Tameji Ueno: A Living National Treasure of Kyoto Textiles

When the Japanese word yūzen is translated into English, it is hard to find an exact expression, as yūzen is used to describe both “hand-painted dyeing on textiles” and a “look-alike style of prints.” Yūzen is the unique aspect of Japanese “motif dyeing” in which the pre-modern hand-painted method survives when printing methods are used for mass production. The Ueno family from Kyoto devoted themselves to design and manufacture of high-end hand-painted yūzen dyeing since the early twentieth century. This paper will follow the Ueno family’s one hundred years of contributions to kimono textile development along with its applications and featured textiles. In their early business days, Tameji and his father provided yūzen textile designs to merchants and dyers, while they collected and researched textile archives from the Edo period to develop innovative textile designs at the time. They also collaborated with Kyoto Marubeni, one of many wealthy kimono textile merchants in Kyoto, for their Biten exhibitions, which started in 1927. Ueno’s style of textile design was called Kyō-Kaga, as he mixed the features of Kaga (the old name of Ishikawa) yūzen and Kyō (the old name of Kyoto) yūzen textiles. When World War II ended and the industry revamped, Tameji wondered if his signed, hand-painted textiles could be treated as art pieces rather than only merchandise handled by merchants. He worked with his dyer colleagues in Tokyo and Ishikawa to establish an artisans’ guild to preserve their yūzen skills and to conduct direct business with consumers. In 1954, the Ministry of Education designated Tameji as one of the first five Living National Treasures of yūzen dyeing. However, it did not change the kimono business led by the merchants. After Tameji passed away, the business was taken over by his two sons, then by his grandson and apprentices following Tameji’s attributes.