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Hayden, Sara Elisabeth. "Creating cloth, creating culture : the influence of Japanese textile design on French art deco textiles, 1920-1930." Online access for everyone, 2007. http://www.dissertations.wsu.edu/Thesis/Summer2007/S_Hayden_072607.pdf.
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Bhattacharjee, Samita. "Poly'nAsia a fashionable fusion of Tongan & Indian textile traditions : this exegesis is submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design (Fashion Design ), February 2005." Full thesis. Abstract, 2005.
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Ghani, Sulaiman Abdul. "The forms and colors of nature on silk /." Online version of thesis, 1987. http://hdl.handle.net/1850/10427.
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MacKay, W. Iain. "The development of pre-Hispanic art forms in Peru : seen as an outgrowth of textile techniques and their influence upon art forms and depiction of symbols." Thesis, University of St Andrews, 1988. http://hdl.handle.net/10023/7359.
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Pre-Hispanic geometric art forms In Peru and the Andean Area are taken to be an outgrowth of textile techniques. Textiles and fibre arts predate ceramics by several millennia In the Central Andean Area. The artist who created these textiles developed an art style which was to go largely unaltered until the arrival of the Spaniards. The foundations of the Andean art form date to the Pre-ceramic. The restrictive, rather Inflexible nature of the warp and the weft of the cloth (the geometric grid) was to influence the methods of represention that were to follow. Geometric designs were well suited to fit Into the rigid framework. A series of conventions were developed for the representation of symbols. With the development of ceramics, there was leeway for a new style to come Into being. However, this was not to be the case. The potter borrowed extensively from the weaving tradition and Its associated styles (only in Moche times did the potter make a break the highly geometric style developed centuries before, and even then this break with tradition was a short lived one). The pre-Columbian artist often portrayed birds, cats, fish and reptiles. Many of these designs were used frequently and repeatedly throughout the centuries, but none, I would maintain. was represented as frequently as the double-headed serpent, and with so few variants. Andean art Is a truly distinctive art form; very different from European art, and through Its geometricity It conveyed and still conveys a totally different approach to nature and the world surrounding Andean man.
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Robledo, Arcos Maria Andrea. "Electronic design and publishing for the Mexican textiles exhibition /." Online version of thesis, 1990. http://hdl.handle.net/1850/11249.
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Smith, Lesley A. "Aboriginal textile art : Ernabella batiks and the screen printed fabrics of Tiwi design /." Title page, table of contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09ARAH.M/09arah.ms6421.pdf.
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Matheson, Jennifer. "[Untitled] [an exegesis submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), 2003.]." Images, 2003.
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Beccue-Barnes, Wendy Davis. "War brides: a practice-based examination of translating women’s voices into textile art." Diss., Kansas State University, 2012. http://hdl.handle.net/2097/13632.
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Doctor of PhilosophyDepartment of Apparel, Textiles, and Interior Design
Sherry J. Haar
Research about military wives has been limited. In academia, most research centers on the soldier and/or the family as a unit. When literature does address only the wife’s perspective it rarely presents a positive portrayal of her life. However, it is not just literature that shows a gap in exposing the voice of the military wife. Art-based works rarely focus on her perspective; and methodologies, such as practice-based research, rarely utilize actual voices as inspiration. The aim of the current study was to discover the voice of the military wife, examine it through a feminist lens, and then translate those voices into artwork that represented the collective, lived experience of the women interviewed. Three methodologies were utilized to analyze and translate the voices of military wives into textile art. These three methodologies: practice-based research, phenomenology, and feminist inquiry provided a suitable structure for shaping the study to fulfill the project aim. Interviews conducted with 22 military wives revealed two overarching themes: militarization and marriage; as well as multiple subthemes. Three subthemes were recognized as being the most prominent: relationships, separation, and collective experience. These themes were used as the inspiration for the creation and installation of three textile art pieces. The current study serves to fill the gaps in both the literature and the artistic process by presenting both the positive and negative aspects of the military wife’s lived experience and using that lived experience as inspiration for textile art.
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Bredberg, Hanna. "DEAR DEER - Exploring the possibilities of materials of animal origin from a textile design perspective." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-254.
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Through manipulation of the materials and creation of sculptural forms, the knowledge in textile design was used to develop alternative methods for working with materials of animal origin. The project touches the issue of consumption by accentuating the fascinating features of animal materials and proposes a way of taking care of materials looked upon as disposals. It questions how we value what resources we have in our surroundings and how we use them. Or more important – how we are not using them.
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Dalton, Jane Emily. "Awakening the spirit /." Online version of thesis, 1987. http://hdl.handle.net/1850/10311.
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Skantze, Kristina. "Body anagram." Thesis, Konstfack, Textil, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5779.
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BODY ANAGRAM is a number of hand stitched sculptures, a growing collection of mountable body parts that can be organized and screwed together in different ways. The process of stitching and sculpting bodies is metaphorically compared to the art of anagrams, wordplays. Their common reversibility between recognition and destruction is discussed. Psychological perspectives on intersubjective, as well as subject-object relationships are used to explain what can happen when people and sculptures meet. How can common emotional experiences of relationships be embodied through human-like textile sculptures? This question is processed in video documentations of people interacting with the sewn body parts. These meetings as well as collaborations around the making of the film, “Your hands and their hands”, are explored further in this paper.
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Jerhov, Carolina. "IN LARGE SCALE : the art of knitting a small shell in large scale." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-26582.
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This work places itself in the field of knitted textile design and the context of body and interior. The primary motive is to investigate the tactile and visual properties of oysters and pearls, inspired by Botticelli’s painting Venus. The aim is to explore free-flowing and texture through knitted three-dimensional textile surfaces. Material and colour choices have been made based on the source of inspiration, the oyster, and investigated on industrial circle knit and flat knit machines. The circle knit’s expression has been explored from a hand knitting perspective, using the manual elements to push the machine’s technique to design new expressions. The result of the project is a collection that has four suggestions for a knitted, three-dimensional surface, each inspired and developed from one specific part of the oyster; the shell, the nacre, the flesh, and the pearl. This work investigates the potential of using circle knit machines, commonly used in fast fashion for bulk production, as a tool for handicraft and higher art forms. The final collection pushes the conversation regarding the future uses of the knitting machines and investigates how rigid objects can be expressed through the flexible structure.
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Protheroe, Keren Louise. "Bloom and blotch : the printed floral and modernity in the textile designs of Winifred Mold and Minnie McLeish 1910-1929." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/27838/.
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As the early European avant-garde designers sought to repress the decorative in design, allegiance to the sensuality and symbolism of floral pattern triggered a sense of ambivalence amongst many English designers and design reformers. Minnie McLeish and Winifred Mold designed ornamental patterns for England's leading mass-market textile manufacturers and this thesis examines their work of 1910 - 1930. Offering McLeish and Mold as case studies, it explores the extent to which women designers exploited the medium of popular floral chintz to forge careers in a previously male-dominated profession. It asks to what extent the eclecticism of their practice - which employed both modern and traditional floral motifs and tropes - exemplified a quintessentially English and essentially modern early twentieth-century paradigm. Rejecting the notion of modernity as an unequivocal rupture in the design historical continuum it offers a close critical reading of specific commodities - printed floral textiles - and their production within the cultural context of consumption to illustrate how contemporaries negotiated 'producing the modern' and 'being modern' using combined narratives of continuity, tradition and progress. The fashionable chintz, and women designers' role in its production, are argued as evidence of what Wilson has described as 'modernity's other' in which the historically influenced, soft, colourful and abstracted surfaces of printed textiles represent the massproduced, the popular, and the irrational in direct reaction to Modernism's scientific ratlonalísrn." The historiography of modern design has largely dismissed floral design as narrowly derivative and as such, like many of those involved in its design and production, it has been rendered marginal in the written history of twentieth-century English modern design. By positioning Minnie McLeish's and Winifred Mold's designs within current discourse on the role of women designers and the decorative in interwar Modernism this thesis furthers our understanding of the history of the designer in the early twentieth century and argues that popular floral fabrics despite their romantic and nostalgic symbolism operated as unlikely agents of modernisation in the 1920s modern interior.
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Westman, Malin. "Babewear : Questioning the way society force childrenswear into two set genders, translated in adultwear." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-14899.
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From the day we are born, we are divided into a gender. This work will look into the way society force children wear into two set genders. I expect to enlighten the problems in set genders in clothes. By studying the characteristics in children wear, scale them up into an adult size and see what happens to the proportions, details and expression. Different kinds of garments with different kind of details. The result is a collection that represents todays features of children wear, pointing out the issues of how society gives children a set identity by the dressing them in a specic way, often by using prints or typical colors.
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Paleologos, Esther, and esther paleologos@rmit edu au. "An exploration of new processes and products for knitted textiles: this research will explore the combination of standard and non-standard fibres and finishing processes to create three-dimensional and sculptural knitted fabric structures, while expanding the potential of domestic machine knitting to be viewed as an art form." RMIT University. Fashion & Textiles, 2010. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20100329.143129.
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Contemporary knitting over the past decade has experienced a recent resurgence in cultural interest and technical exploration. This research project aims to identify, through personal practice, the implications of knitting as undefined, removed from the boundaries of product. It is the dissolving of the lines between design, art and craft and exploring the domestically machine knitted textile via the use of materials and the inherent qualities of the fabric which are the driving factors of this research. It is through this exploration that my personal and creative process is diversified. The traditional connotations of knitting are historical, social and cultural, in particular hand knitting. Childhood memories of mothers and grandmothers knitting out of necessity, for clothing, often evoke feelings of safety, warmth and comfort. This familiarity of the looped stitches and understanding of the knit as garment binds knitting to fashion. Industrial knitting process, as scale of stitch is reduced, begins to remove this familiarity and creates an anonymity of structure and process, for example jersey knits used for t-shirts. This instant recognition for knitting as clothing is part of the design process where-by knitted fabrics work in unison with product. It is this boundary that has defined my professional practice designing for knitwear. This research involves a more experimental and fluid approach to producing the textile, considering the qualities and potential of the structure as something to celebrate in its own form. Designers such as Issey Miyake, Hussein Chalayan and the artist Rosmarie Trockel have been influential in taking fashion concepts into the gallery, often knitted. This movement of making conceptual and political statements, especially in the case of the industrially knitted pieces by Trockel, was a step to question the traditional and feminist perceptions of knitting and using the process as a material to create art. While these exhibitions explored the knitted textile in the form of fashion garment, the importance of diversifying the knitted cloth and displaying conceptual pieces is a major influence on this research. Also the more recent exhibition 'Radical Lace and Subversive Knitting', (Museum of Arts & Design New York 2007), has allowed for a reinvigorated forum for constructed textiles to be viewed as object, new product or purely as spatial explorations of structure. The impact of these ideas has allowed for the consideration of the textile being stripped back further and to remove the instant connot ation of product application. Exploration of materials, knitted structures and the manipulation of fabric without the constraints of identified product is the impetus of this project. The evolution of the outcomes is instrumental to the reactions of fibres, stitch and interplays of positive and negative space, while suggestions of product are accidental and created by the knitted form as it is removed from the machine. A personal interest in exploiting the knitted structures potential to possess transparency and opacity, become sculptural and changeable by hand have influenced the choices of material and stitch combination. This experimentation has informed my personal practice and the involved process of making.
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Fraser, Angela. "Patterns of identity : textiles in Aotearoa : http://www.textiles.org.nz : this thesis is submitted to the Auckland University of Technology in partial fulfillment of the degree of Master of Arts (Art and Design) in the year 2004." Patterns of Identity: Textiles in Aotearoa ~ New Zealand, 2004. http://www.textiles.org.nz.
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Bahlner, Sofia. "Under con-structure." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17069.
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For this project I want to cheer my subconscious passion for animals and use them as inspiration and as a starting point. Animals are mostly interesting in the project when it comes to their surface and their structure. The work has been a development of structures and techniques in an experimental way of working with textiles and mixed media on garments. The aim is to explore how structures can form garments.Comparing to a traditional design process this work is explored by a reversed design method where the material are formed into shapes or modules and then put together as a garment. So the form has been secondary to the surface structure of the garments. It is also important that the collection urge viewers to touch and feel the structure and hopefully also encourage people to understand and get involved with the fabric and what it´s maid of. The work shows that structure in textile is a lot about levels and layers in the surface area. The investigation in the work is about creating a three-dimensional feeling that is almost like a landscape to explore. During the process it has been found that it´s a thin line between when the garment has a specific surface structure and when it is a garment decorated with modules of a certain material.For me this could be a neverending life project. A project that can continue into several outfits in various techniques and materials but the idea could be developed by putting up rules like using only waste material or material that has been given to you.Program: Modedesignutbildningen
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Howell, Amy Beth. "Line, Space and Plane." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1259177315.
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Nord, Olsson Kristina. "För Wanja – i tiden : En studie av Wanja Djanaieffs klädkollektion till den svenska olympiatruppen i München 1972 och i Innsbruck 1976." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-435954.
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This bachelor’s thesis traces the life and career of textile designer Wanja Djanaieff, in particu- lar the collections she designed for the Swedish Olympic team for the games in Munich 1972 and Innsbruck 1976, in order to investigate the hypothesis that the social and political climate in Sweden shaped and constrained the stylistic choices available to textile designers at the time. Through the use of a biographical method, including an interview with Wanja, her works are placed within a broader cultural and political context, and the ways in which her art was influenced by historical developments, such as the decline of the Swedish textile industry from the 50’s onwards, are highlighted. Additionally, it is investigated which constraints were imposed on her designs by her clients, and how Wanja faced these constraints. It is argued that presence of irony and androgynous designs in Wanja’s work mirrors contemporary social developments, lending support to the notion that art reflects broader societal trends.
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Chen, Liching Zoe 1961. "DRAGON DESIGN IN CHINESE TEXTILES OF THE CH'ING DYNASTY: ITS APPLICATION TO MODERN TEXTILES." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291390.
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Hansen, Felicia. "Toys''R''Cloth : An alternative interpretation of Kente cloth." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-23505.
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This degree work places itself within the field of textile design, with an artistic approach. The motive with this work is to introduce Kente cloth as a textile expression to be developed as a contemporary textile technique. The aim is to explore ways of reinterpreting the West African weaving technique of Kente cloth in combination with the use of recycled toys in order to create contemporary artistic textile designs. The design method consisted of workshops that focused on the deconstruction of the technique and the categorisation of toys. Experimental sketches on the handloom and jacquard machine were produced. The outcome of this design work is a collection of three handwoven artistic textile designs. Toys’’R’’Cloth engages the viewer to produce more sustainable designs by using recycled toys as material reuse. This work and its design method have the potential to be developed further and applied onto other textile techniques.
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Eklöf, Andreas. "Biker Jacket." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17065.
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Staring to explore the fashionable biker jacket from the fifties lead to the discover that it hasn’t changed much since its origin. The stereotyped biker jacket with the genuine black leather and raw details is an impact model and thought the jacket no longer is worn while riding a bike is it still presenting an image of a rebellious life.The aim of this work is to explore our traditional view of the biker jacket through material and shape. Discovering that the bikers riding position has big similarities with a standing cow gave background to the material used in the classical jackets, the cow. A living animal, a material that once lived. To use the cows and the biker’s upper body as a model, recreating its shape into biker jacket’s to develop the shape of the biker jacket further. By experimenting with untraditional non-textile materials instead of using leather hopefully develop the traditional view of a jacket and bring alternative material and construction forward. Conclusion of the work is that when the materials with strong associations are mixed with the biker shape the materials take over and the definition of the biker jacket becomes more complex. New questions that has arise could be the use of other technical materials, what happens when giving the jacket other functions, is it still a biker jacket then.Program: Modedesignutbildningen
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Pelissier, Kiara. "INNATE." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1016.
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I often think of life as a tight rope stretching across an expanse. Our inner strength enables us to walk forward across it. When this fails us, we fall. But in those moments when we prevail, we soar and float as though weightless and timeless. As a gymnast I learned that control of one's insecurities results in a powerful and balanced presence of body. Give into them and the body becomes uncertain and clumsy. Rarely is life this transparent. Many forms of tension manifest themselves in physical, spiritual, and emotional unrest. How does the physical contour of the skin reflect the soul of a material body? Through the use of tension and balance, and with the aid of transparency, translucency, and opacity I alter the perception of surface, form, internal and external space. My work is a comment on the flux of my emotions and attitude towards daily life.
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Hjelte, Ina. "i.dress, exploring when fabric becomes garment." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17070.
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This work deals with definition of garments. It explores how little changes a piece of fabric needs to still make it into a garment. What is it that defines a garment, is it just that something is done with a piece of fabric or does it need some recognizing of body parts. The aim is to find new ways of construction without using templates and questioning when textile becomes garments by draping and cutting.Through using how clothes are fitted to the body but instead of using pattern templates work from a rectangle and make it fit the body as garment. Working from two-dimensional to three-dimensional by the help of the body, going directly from fabric to garment. By defining the essential parts in every garment and cutting holes in a rectangle to highlight a certain body part or letting the body go trough different holes to make the fabric turn and drape around the body. Conclusion of the work is that a cut or incision doesn’t always define a garment, that it takes another recognition as well to make the definition. During the development questions have arise as for example how to construct holes in all fabrics and deal with the finishing, how to use raw edges without ripping, how to sew were there is no seam allowance and how to create fabric suited for cutting.Program: Modedesignutbildningen
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Gregg, Ashley. "Holler." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3712.
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The artist discusses her Master of Fine Arts thesis exhibition Holler, held at Tipton Gallery March 2ndto March 13th, 2020. The exhibition features an installation of works on fiber, paper, and found objects tied to her upbringing in Southern Appalachia. A variety of collected materials including bedsheets, chalkboards, and barbwire are taken out of their traditional contexts and brought into a new vantage point through the artist’s alterations.
Gregg re-contextualizes materials, language, and signifiers as a process of decoding formative experiences in domestic and academic spaces. Themes examined in the work include rote learning, tradition, indoctrination, identity, and cultural psychology. Literary references include writings on critical pedagogy by educators Paulo Freire and Bell Hooks. The influence of conceptually driven artworks by Adrian Piper and Bruce Nauman and their relation to language and repetition are discussed, as well as the themes of identity and domesticity as seen in the works of Tracey Emin and Mona Hatoum.
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Félix-Fromentin, Clotilde. "Entre habit et habitacle, design de l'habiter : penser l'enveloppe, vers un paradigme de la texilité." Thesis, Lille 3, 2013. http://www.theses.fr/2013LIL30010.
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Dans le cadre du projet de « maintenir ou accroître l'habitabilité du monde » (Ezio Manzini, 1991), nous interrogeons la manière de penser l’habiter par le design, qui rencontre de notre point de vue la question des enveloppes de l'homme, artificielles versus biologiques, matérielles versus virtuelles. Le cas de l’habit, hypothétique enveloppe habitable dérivée du vêtement, première architecture selon Gottfried Semper et le « principe du revêtement », retient tout particulièrement notre attention. Le sujet est abordé par une théorisation située à partir d’un projet expérimental personnel de conception et fabrication d’enveloppes textiles, qui attesta d’une rationalité et d’une expansivité tout à fait singulières. Son étude est conduite par une méthode poïétique, au sens de Paul Valéry, qui combine une étude herméneutique des productions, une exégèse de la nature systémique de la démarche (programme et émergences), ainsi qu’une exégèse complémentaire du travail technique en actes (facture et irrégularités). La transdisciplinarité inhérente à la problématique est ainsi envisagée à partir de la pensée de l’art textile de Semper, la pensée poétique et épistémologique de Valéry, et la pensée esthétique complexe issue des sciences du vivant. La construction théorique nous emporte à suggérer, en regard de l’habitabilité, la perspective d’un nouveau paradigme, la textilitéIn context of the project intended to « maintain or increase the habitability of the world » (Ezio Manzini, 1991), we question the way of thinking the dwelling by design, which meets, according to us, the question of human envelopes, artificial versus biological, material versus virtual. The case of the habit, hypothetical inhabitable envelope derived from garment, primary architecture according to Gottfried Semper and the “theory of clothing”, particularly focuses our attention. The subject is approached by a situated theorizing from a personal experimental project of conception and manufacture of textile envelopes, which demonstrated a rationality and expansiveness quite singular. The study is leaded by a poïetic method, as defined by Paul Valéry, combining an hermeneutical study of production, an exegesis of the systemic nature of the process (program and emergences), and an additional exegesis of the technical work through the acts (craft and irregularities). The inherent transversality of the problem is thus considered with means of the thought of textile art of Semper, the poetic and epistemological thought of Valéry, and the complex aesthetic thought outcome from of the life sciences. The theoretical construction takes us to suggest, in comparison with the one of habitability, the way to a new paradigm of textility
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Inocentes, Francesca Louise. "[REBELUTION 17]: Gender Bender." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/950.
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Fashion embodies what is accepted and valued in a given culture or society and empowers individuals by building self-confidence, enabling them to express themselves authentically through their bodies and garments. The gender binary, perpetuated by the mainstream fashion industry, marginalizes individuals who do not conform to it. In Rebelution 17, I utilize clothing design and photography to empower and liberate individuals who do not conform to the standards of beauty in regards to gender identity and acceptability. The finished works are featured in a Lookbook – a digital and physical collection of photographs used to market fashion – designed to promote awareness of gender-neutral fashion and deconstruct industry norms. Rebelution 17 can be viewed online at www.francescainocentes.com.
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Stachl, Erna. "House and contents insurance an exploration of tactility and narrative : this exegesis is submitted to Auckland University of Technology for the Master of Art and Design, December 2007 / Erna Stachl." Click here to access this resource online, 2007. http://hdl.handle.net/10292/373.
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This thesis examines the relationships between fictional narratives and material objects through writing and sculptural practice. Its purpose is to explore how fiction assists in an understanding of the world we inhabit and, conversely, how our experiences of the world and its real and physically accessible contents (or objects) prevent fiction from transgressing into nonsense. It is anticipated that the combination of material practice and textual fiction will not be an easy marriage: it may be the objects which ultimately give presence to our voices, voices which historically have often attempted to claim and own of things through utterance. The sculptural component of the project addresses the tactility of objects and examines the space where so many tales are told – the home. In so doing, the project explores issues of isolation and connection through objects and materials which harbour a narrative of ostensible comfort. Objects may simultaneously project conflicting accounts of comfort and unease, connection and isolation, contributing to an articulated consciousness of the home.
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Fiely, Megan Elisabeth. "“Within a Framework of Limitations”: Marianne Strengell’s Work as an Educator, Weaver, and Designer." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143405799.
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Pervez, Wajiha. "DESIGN FOR DISASSEMBLY - A CIRCULAR APPROACH." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4773.
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As the world becomes increasingly aware of the need to better care for the environment, innovative business models are helping to counter the damage of the fast fashion system - a phenomenon in the fashion industry whereby production processes are expedited in order to get new trends to the market as quickly and cheaply as possible.
Designing products with a focus on their renewability can shift the product-consumer relationship. The closed loop concept of a “circular economy” is emerging as a viable and promising solution to the current linear business model.
This study explores the possibilities of a more mindful approach to systems of production and consumption through material explorations using plastic from water bottles, paper from old newspaper and magazines, and fabric leftovers from pattern making within a circular economy. It considers the generative and renewable approaches in redefining how fashion engages with the components and raw materials of the industry.
The research demonstrates a circular approach to the production of hospitality accessories in an effort to develop new intersections between products, materials, and consumers. The accessories are designed using discarded, reformulated denim–an abundant and underutilized byproduct of the fashion industry–to reduce waste that currently occurs every time hotel chains and airlines produce disposable giveaway products from new materials.
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Govette, Lyn A. "ES-SEN-TIAL." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3265.
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This thesis is in support of the exhibition entitled ES-SEN-TIAL on display in Tipton Gallery located in Downtown Johnson City from February 27, 2017 to March 10, 2017.
The exhibition is a presentation in fiber medium of the human impact on the landscape, specifically using the extractive industry of coal mining as example. This is accomplished through the use of digital imagery printed on textiles, hand and machine embroidery, and surface design techniques of dyeing and layering. This body of work reflects the artist’s interest in art activism and the utilization of photography, fiber arts, ideas and techniques, as creative process to formally explore the landscape.
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Helsing, Gustaf. "6 ängsliga mattor : "(Alla män borde känna självhat) Ärlighet varar längst? Ängslighet varar längst?"." Thesis, Konstfack, Textil, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6763.
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Du ska väva sex stycken ängsliga, praktiska, opraktiska och fantastiska mattor! Mattorna ska berätta olika saker. Mattorna ska vara många och stora för att de ska ta plats, synas och höras, men det ska de skämmas för! Mattorna ska vävas snabbt, för att allt måste gå snabbt. Får frågan om jag vill att en ska tycka synd om mig? Det är det jag verkligen inte vill! Får se över hur jag formulerar mig. Men om jag säger, tyck inte synd om mig, lägger jag ord i munnen på mottagaren. Hur ska jag formulera att jag tycker att det är rätt att det är svårt, att mitt handlande leder till självhat. Självhat jag borde känna för att förändras.Your will weave six anxious and amazing rugs! The rugs will speak about different things. They shall be many and big to take up space, be seen and heard but that they should be ashamed of! The rugs shall be woven fast, because everything have to be fast. Do I want people to feel sorry for me? That is what I really don’t want! Have to look over how I formulate myself. But if I say, don’t feel sorry for me, I put words in the mouth of the receiver. How am I to formulate that I think it is right that it is hard, that my behavior leads to self-hatred. Self-hatred that I should feel to change.
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Maillet, Thierry. "Histoire de la médiation entre textile et mode en France : des échantillonneurs aux bureaux de style (1825-1975)." Paris, EHESS, 2013. http://www.theses.fr/2013EHES0063.
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Le développement de plusieurs formes de médiation entre textile et mode sur un siècle et demi est une des sources méconnues du succès de la mode puis du prêt-à-porter en France. A compter de 1825 un dessinateur vosgien, Jean Claude, s'installe à Paris d'où il réalise des propositions de croquis pour le compte de ses clients de Sainte-Marie-aux-Mines. Il leur envoie aussi des échantillons des nouveautés qu'il identifie à Paris. En 1834 l'échantillonnage devient son activité. Installé dans le quartier du Sentier à Paris Jean Claude développe son activité vers les industriels, mais aussi à compter de 1855 les écoles (Roubaix) et les associations de dessinateurs (Mulhouse). Médaillé à l'Exposition Universelle de 1878 à Paris sa réussite ne laisse pas indifférente une concurrence qui s'étoffe : l'échantillonnage médiatise les nouveautés de la mode vis à vis des professionnels du textile et France et à l'étranger. A partir de 1920 la présence accrue des grands magasins new-yorkais à Paris fait émerger un nouveau métier: le stylisme. Des « bureaus of stylists » sont créés au sein des départements d'achats des grands magasins new-yorkais installés à Paris. C'est aussi le début d'une histoire de la mode en conversation entre Paris et New York. Après la Seconde Guerre mondiale l'influence américaine par le biais de la presse féminine et des missions de productivité facilite l'essor de stylistes femmes à Paris contemporain de la diffusion du prêt-à-porter. A la fin des années 1950 un premier bureau de style est créé et trois autres dans les années 1960. Les bureaux de style acquièrent une influence croissante confirmant ainsi le rôle de la médiation dans l'élaboration de la modeThe development of several forms of mediation between textile and fashion over a century and a haIf is a little-known sources of success of fashion and ready-to-wear in France. As of 1825 a designer from the Vosges mountains, Jean Claude, moved to Paris where he made sketches of proposals on behalf of its clients in Sainte-Marie-aux-Mines. He also sends samples of novelties that he identifies in Paris. In 1834 sampling becomes its activity. Established in the Sentier district in Paris, Jean Claude develops its activities toward industrials and from 1855 to schools (Roubaix) and associations of designers (Mulhouse). With a medal at the Exposition Universelle of 1878 in Paris Jean Claude's success bolsters new competition: sampling mediates the latest fashion trends towards professional textile in France and abroad. From 1920 the increased presence in Paris of buyers' offices for the department stores from New York drives the emergence of a new profession: the styling within the brand new 'bureaus of stylists ". It is also the beginning of a history in conversation between Paris and New York in the fashion world. After World War II American influence through women's magazines and productivity missions facilitates the development of women designers in Paris. In the late 1950s a first bureau of stylist is created and three others in the 1960s. Bureaus of stylist gain increasing influence thus confirming the role of mediation in the development of fashion
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Lopez, Barazarte Maria Angelica BARAZARTE. "IT WAS, IT IS, WHAT IF." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1499449654080401.
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Duarte, Adriana Yumi Sato 1988. "Estudo do trançado para desenvolvimento de produtos têxteis artesanais." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/264279.
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Orientador: Franco Giuseppe DediniDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Mecânica
Made available in DSpace on 2018-08-22T03:41:34Z (GMT). No. of bitstreams: 1 Duarte_AdrianaYumiSato_M.pdf: 12125505 bytes, checksum: 3905d87344e274e166ea8b7f129f87c3 (MD5) Previous issue date: 2013
Resumo: A presente pesquisa tem como objetivo propor uma linguagem para a técnica artesanal de trançado manual, atividade praticada em diversas regiões do Brasil que utiliza materiais flexíveis para desenvolver produtos como cestos e esteiras, de modo a sistematizar a construção das armações e reafirmar a importância desta atividade para o país nos aspectos sociais, culturais e econômicos. Para tanto, o cenário desta pesquisa é baseado na análise da produção artesanal no Brasil, estudo do trançado manual e suas atividades análogas e a inserção das diretrizes de metodologia e ferramentas de projeto neste contexto. O conhecimento atrelado à prática do trançado manual é transmitido de forma oral e geracional, e em razão disto, está sendo perdido progressivamente. Por este motivo, como consequência da sistematização do trançado, o resgate deste conhecimento também é contemplado na pesquisa. Os resultados da pesquisa indicaram a relação entre o trançado manual e a tecelagem, atividade têxtil que transforma fios em tecidos, transferindo a nomenclatura, representação numérica e gráfica da tecelagem para o trançado manual. Assim, o que se pretende nesta pesquisa é sugerir uma linguagem para o trançado manual, ainda inexistente na área, que permita o desenvolvimento de um banco de dados e, futuramente, novas armações
Abstract: This research aims to propose a language for the artisanal braiding, a handicraft technique practiced in different regions of Brazil that uses flexible materials to develop products like baskets and mats, in order to systematize the construction and to reaffirm the importance of this activity in social, cultural and economic aspects. Therefore, the background of this research is based on the analysis of handicraft production in Brazil, the study of the braiding and its similar activities and the insertion of guidelines from methodology and design tools in this context. The knowledge linked to this practice is transmitted orally and between generations, and because of this, is being gradually lost. For this reason, as a consequence of the systematization of braiding, the rescue of this knowledge is also covered in this survey. The results indicated the relationship between artisanal braiding and weaving, a textile activity that transforms yarn into fabric, transferring the numerical and graphical representation for weaving to braiding. So, what is intended in this research is to suggest a language for artisanal braiding, which is lacking in the area, in order to allow the development of a database and, in future, new patterns
Mestrado
Mecanica dos Sólidos e Projeto Mecanico
Mestra em Engenharia Mecânica
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Molina, Perez Johana del Pilar. "El arte textil y la participación de la mujer tejedora." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657152.
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Este trabajo de investigación tiene como objetivo principal analizar la participación de la mujer tejedora en el proceso de producción de arte textil en el Perú. Asimismo, busca analizar el contexto en el que se desarrolla esta labor, y por último comparar la contribución de los centros de emprendimiento y difusión entre Bolivia y el Perú, países con mayor actividad textil y contextos similares, y posteriormente, entre los principales departamentos del Perú con mayor cantidad de artesanos textiles.
Para ello, se utilizaron métodos de investigación cuantitativos y cualitativos. En el primero, se recopiló información de tesis, diarios, e informes de instituciones públicas. Y, en el segundo, se realizó un análisis de manera descriptiva y evaluativa, a un grupo de tejedoras perteneciente a una ONG “Ayllu Ruwasunchis”, ubicada en Pachacámac, a través de una investigación de campo.
Por último, se encontró que, en el Perú, las tejedoras se muestran como una incógnita para el consumidor final debido a la presencia de intermediarios. Estos se aprovechan de sus carencias y les proponen precios bajos para luego difundirlos en espacios lujosos, a un consumidor de nivel socioeconómico “A” a precios elevados. Por otro lado, los espacios para promover su emprendimiento y venta están centralizados en las regiones de Cusco y Puno, debido al su gran alcance de materia prima, artesanos textiles, y alto flujo turístico. Sin embargo, Huancavelica, el tercer departamento con mayor cantidad de artesanos, no cuenta con espacios emprendimiento permanentes para la promoción y desarrollo de sus capacidades, y tiene casi en su totalidad espacios de venta informales, y los que son formales se alejan del trato directo entre tejedora y consumidor final.The main focus of this research is to analyze the participation of women weavers in the textile art production process in Peru. It also seeks to analyze the context in which this work is developed, and finally to compare the contribution of the centers of entrepreneurship and diffusion between Bolivia and Peru, countries with greater textile activity and similar contexts,and later, between the main departments of Peru with the greatest number of textile artisans. As well, quantitative, and qualitative research methods were used. At first, information was gathered from theses, newspapers, and reports from public institutions. And then, a descriptive and evaluative analysis was made of a group of weavers belonging to an NGO "Ayllu Ruwasunchis", located in Pachacámac, through field research. Finally, it was found that, in Peru, weavers are an unknown quantity for the final consumer due to the presence of intermediaries. These people take advantage of their shortcomings and propose low prices and then sell them in luxurious spaces to a consumer of socioeconomic level "A" at high prices. On the other hand, the spaces to promote their entrepreneurship and sale are centralized in Cusco and Puno, due to their large supply of raw materials, textile artisans, and high tourist flow. However, Huancavelica is the third department with the largest number of artisans and doesn’t have permanent spaces for the promotion and development of their skills, and only has informal sales spaces.
Trabajo de investigación
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Hester, ElizaBeth. "Vadie Williams, Folk Artist: Drawnwork as a Reflection of Personal Identity in Rural Kentucky." TopSCHOLAR®, 1989. https://digitalcommons.wku.edu/theses/2491.
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This study focuses on Vadie Conner Williams, an individual folk artist, and the drawnwork she has created throughout her lifetime. Included is a description of her rural farm background, her needlework skills and her creative process. The study also examines the significance of drawnwork to Williams and determines how she has adapted her work to satisfy her personal needs as well as the needs of her customers. Based on tape recorded interviews and a close examination of her work, the study concludes that drawnwork is an integral part of Williams's everyday life; it is an indicator of her beliefs and a source of identity within her community.
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James, Lindsey Taylor. "Invasive." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524231202288714.
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Nordenlöw, Marianne. "TEXTIL MODERNISM : Signerad textil – när mönstren fick namn var de manliga." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-180773.
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Uppsatsen utgår från Signerad textil, en kollektion tryckta tyger för offentlig miljö, som tillkom 1954 i regi av NK:s Textilkammare. Tolv konstnärliga utövare, varav tio manliga, inbjöds att medverka. För nutida betraktare är den stora majoriteten män uppseendeväckande, då det textila området länge hade kodats som kvinnligt – och gör så än. Det leder till mina frågeställningar: Hur gick urvalet av inbjudna konstnärer till? Hur kom det sig att endast två av dem var kvinnor? Hade en annan sammansättning av gruppen inbjudna konstnärer, bestående av fler eller enbart kvinnor, varit möjlig och hur hade den i så fall kunnat se ut? Materialet utgörs av Astrid Sampes arkiv på Konstbiblioteket, Nationalmuseum, samt referenslitteratur inom konst och design. De teoretiska ramarna utgörs av genusteori, med stöd av Pierre Bourdieus teorier om fält, kapital och aktörer. Metod är arkiv- och textanalys. Uppsatsen består av inledning, ett analyskapitel, ett diskussionskapitel samt epilog. I analyskapitlet skrivs dels det textila området fram som kvinnligt kodat, dels presenteras bakgrunden till Signerad textil. Parallellt vävs detta samman med ett försök att tolka det textila fältet och kollektionens kontext med hjälp av Bourdieus teorier. I det avslutande kapitlet diskuteras om och hur frågeställningarna kan besvaras samt möjliga orsaker till att de manliga konstnärerna var i stor majoritet. Epilogen handlar om hur kollektionen har presenterats efter 1954 samt att det textila fältet ännu är kvinnligt kodat.
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Ellison, Cassandra J. "Recovery From Design." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4884.
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Through research, inquiry, and an evaluation of Recovery By Design, a ‘design therapy’ program that serves people with mental illness, substance use disorders, and developmental disabilities, it is my assertion that the practice of design has therapeutic potential and can aid in the process of recovery. To the novice, the practices of conception, shaping form, and praxis have empowering benefit especially when guided by Conditional and Transformation Design methods together with an emphasis on materiality and vernacular form.
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Lien, Kathryn. "Of the Crickets." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5435.
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Of the Crickets imagines the overlapping worlds of ethical ecological solutions to climate changed sustenance and the potential for collective excellence in female exclusive environments. Using garments, furniture, site-specific installation and directed performance, the project harnesses social and material sensitivity to mine solutions for idealized living.
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King, Taylor Z. "A Spectacle and Nothing Strange." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5905.
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Working through methods of abstraction and comedic mimicry I choreograph awkwardly balanced sculpture with objects of adornment as a means to defuse personal sensitivities surrounding my experiences of gender, desire, and home. The research that follows is concerned with the adjacent, the in between, above and underneath, because I feel that this kind of looking means that you are, to some degree, aware of what lies at the edges. Maybe this is what Gertrude Stein means to act as though there is no use in a center—because this concerns a way of relating, though there are many things in the room.
‘A spectacle and nothing strange’ is an arrangement of gestures, of made difference, of kinships, of orientations and possible futures, sustained tension, coded adornment, big dyke energy, shifts in hardness, leaning softness, much more than flowers, ...and in any case there is sweetness and some of that.
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Brown, Emilie Sayward. "Bounded Surface." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1331.
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The relationship between surface, perception, and structure has occupied my graduate studies. Locating, transforming, and transcending the surface requires play with perceptive abilities not only of vision, but of touch, hearing, and the other senses as well. How do the interactions of sense with the qualities of a surface determine our perception of the world? What role does the extension of the senses play in one's ability to perceive surface and structure? Using sense information gleaned from surfaces, the tectonics of our world are made visible. Might this relationship be played backwards as well? Composed structures produce surfaces upon which limina can be sensed.This written accompaniment to the thesis works is intended to continue the exploration of the surface/ sense/ structure relationship. With the visual work as a basis, each section consists of two parts. This structure is a tool for producing sense information for the viewer concerning the visual work.The first part serves as a bridge between the particular visual work and the second part. Consisting of a page or so of text, the first part of each section is also intended to set a tone or position the reader for the second part. The second part is more formal and speaks about the ideas behind the produced object, and for the most part could be applied to any works in this thesis. My desire is that the adjacency of the pieces in each section will create a friction of sorts an awareness of the surface between the two writings, and perhaps, between the writing and the objects.
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Smith, Allison Hope. "162 Springcrest." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524231199349606.
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Bland, Kasey Dawn. "The Life and Career of Fashion Designer, George Stavropoulos." University of Akron / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=akron1217262462.
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Minor, Sarah M. "Beasts of the Interior: Visual Essays." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1554390195795843.
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Amoah, Maame A. "FASHIONFUTURISM: The Afrofuturistic Approach To Cultural Identity inContemporary Black Fashion." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent15960737328946.
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Glazer, Joanne. "The social and political implications of the Kuba cloths from Zaire." 1996. http://hdl.handle.net/10500/16851.
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Textiles may be used as a vehicle to penetrate and exemplify a society's customs and
traditions. This dissertation concentrates on the Kuba cloths from Zaire and particularly
focuses on the social and political implications associated with these textiles. Part One
explores the economic aspects of the cloths and the values of work, wealth, status and
titleholding among the Kuba. The Kuba's aesthetic preference for pattern and design will
be contemplated in relation to the cloths and as an illustration of this culture's concern
with decoration and display. Part Two of this study examines the occasions for which
these cloths are adorned. It will be observed that these celebrations and rituals, in
conjunction with their ceremonial modes of dress, not only underline the importance of
the nation and its ideologies and customs (as examined in Part One) but serve to
acknowledge ethnic identity, as well as maintain and perpetuate the social and political
order of the Kuba.Art History, Visual Arts and Musicology
M.A. (History of Art)
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Brooks, Dorcas A. "Situated Architecture in the Digital Age: Adaptation of a Textile Mill in Holyoke, Massachusetts." 2011. https://scholarworks.umass.edu/theses/575.
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The City of Holyoke, Massachusetts is one of many aging, industrial cities striving to revitalize its economy based on the promise of increased digital connectivity and clean energy resources. But how do you renovate 19th century mills to meet the demands of the information age? This architectural study explores the potential impact of sensing technologies and information networks on the definition and function of buildings in the 21st century. It explores the changes that have taken place in industrial architecture since 1850 and argues for an architecture that supports local relationships and environmental awareness. The author explores the industrial history of Holyoke, appraises emerging uses of sensing technologies and presents a thorough narrative of her site analysis and conceptual design of a digital fabrication and incubation center within an existing textile mill.
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Tareila, Emily. "Fielding." 2019. https://scholarworks.umass.edu/masters_theses_2/801.
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Fielding is an ongoing exploration of place-making, spaces of learning and relationship building in formal and informal learning environments. The project is comprised of a series of events and workshops that are embodied, multimodal, olfactory and engagement-focused and a mobile cart that helps to facilitate these happenings both in and out of the formal gallery space. I regard my art practice as pedagogical, a blurring of art and life into intentional ways of being in the world; an experience of sharing practices with others and a form of what is regarded in institutionalized art as social practice. I find art to be a powerful lens through which to see, and I strive to demonstrate how it can be applied in all matters of living. The practices of making enable me to contribute towards a more equitable, care-ful, empathic, connected and beautiful earth.