Fabric Charcloth is based on aesthetics the of the materiality itself. The driving force behind the textile was the memory of the material. I was mesmerised by this intuitive thought that the materials have memory. Therefore, I focused my research on grasping the answer whether materialities such as simple home textiles, wood, wax, etc. No longer identified as linen, with its structure changed to coal, through the process of charring, Charcloth still retains the memory of itself — the woven patterns, symbols remain.
With a vast increase of public spaces such as shopping centers, night clubs , there is an urge to design energy filters. Charred linen cloth concentrating vast energies of warmth becomes extremely flammable and fragile, yet retains vibrancy of a memory. Having filtering qualities of coal, Charcloth , is a step towards filtering and revitalising spaces, as energy pollution has become more obvious in the era of globalization. A woven, tufted and embroidered costume that links the technique of making a tufted carpet with a medieval battle : Wool, mohair, cotton, leather, jute, rabbit fur, metal and nylon.
It starts with the preparations, the backing fabric on which you are going to tuft needs to be strong. Strong like the chain mail of a soldier, impossible to pierce. After the chain mail is made it will be stretched on a frame, the harness. The munition consists of wire or something similar, ribbons, strips or treads will soon be the pile.
The act itself is one of pure violence.
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This is why you use a gun to shoot the pile. You need a lot of force, otherwise it misses its target and remains stabbing halfway. In a relatively dense surface, a lot of chain mail per centimeter in combination with a relatively thick wire you can probably imagine that this is tough work. Many piles close together will form a phalanx that protects each other and is able to win. Taking materiality as the starting point of the design process, knitting jacquard rib material on the industrial circular machine.
Manipulation of a jacquard rib material by gradually stretching and coating it into various shapes in different scale. Draping the created material on a body while allowing the coated shapes direct the garment silhouette and to interact with the perception of a body. Shapes - Most of the shapes were achieved by stretching the material around using tubular objects, during the process were used also round and angular shapes.
The fixating was done by using coating CB My focus points were mainly on stretch ability, redefining knitwear, the motion capture which evokes an optical illusion and the perception of the body. Curving or bending of structural lines. The intention in creating this textile is to explore extremely stretchy jacquard knit material in relation to stretched and coated shapes that could lead to an unexpected strong visual expression.
For the first experiments, I used red and black polyester and white cotton with the possibility to apply digital print on it. The knitted and coated material shows a lot of potential and the future applications may include more developed interaction between the body and material, exploration of other materials that act in a similar manner as the knit, for example, pleating.
If experimenting further, next steps would be combining different printing techniques with the knit and other materials. Issey Miyake is an important reference for my work - if I could do a contemporary take on his work and to build on his findings how would that materialize? In this study, I have applied a practice-led research.
I chose practice-led research as my research method because I was not familiar with the industrial production and constructions of clipped designs. By creative practicing I gained a deeper under-standing and new insights into the technique of floating and clipping. The creation of an idea port-folio by using various sketching methods and the development of the designs for production, represent an instrument in this research.
In this study, creative activity meets theoretical background.
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The idea portfolio supports the dialogue between the designer and the technician in a design case in collaboration with the Italian weaving mill Lodetex. A little bit of luck contributed to the final outcome of this study as well. At an early point of my study, I wanted to discuss the material and col-our design of woven textiles. I considered various ways on how to approach the subject from a fresh and meaningful point of view.
In the beginning of the spring of , I spent three months on an internship at the Italian weaving mill Lodetex. Lodetex is specialized in the production of jacquard fabrics for furnishing markets. I decided that doing my thesis in collaboration with Lodetex would be a viable continuum after working in the company as an intern. I discussed the matter with owner Luca Farhanghi and he agreed that a thesis collaboration would be interesting and beneficial for the both of us. He informed me about a few production lines that the company planned on developing.
One of these lines related to clipped designs.
To me, the development of clipped designs seemed like a fascinating and interesting topic to research. Since I had already designed two clipped designs during my internship, I realized that the weaving process of these fabrics required more advanced technical understanding in interwoven structure of cloth.
Therefore, this project gave me a chance to improve my skills in artistic expression as well as develop my knowledge in designing, weaving and finishing of clipped cloths. Venus Lo United States. Machine needle. I want to celebrate the inside beauty of a hoarder's room. This is the key message I want to express through my work. Inspired by my experiences living with my father, who is a hoarder! However, I realized hoarders collect items instead of relationships because they lack security.
Even normal people think they are imperfect, everything they collected bring back memories from what they experienced. Playing with a big pile of yarns and recycle garments through needle punching, machine knitting and felting! I enjoyed the moment how I deconstructed, tearing, recombine the stuffs in my own way. I believe the vision of luxury is in spending time making for the wearer, not only purchasing expensive items blindly. The textile Regen is made with cotton rope and latex, it is neither woven or knitted but glued. Wendy Andreu has devised a system for producing water-proof fabric. She makes these items of clothing without sewing or cutting patterns.
Regen products are made by coiling the rope around a laser cut steel mould and covering it in latex. Where the dark latex seeps between the light rope it creates shading and textural detail that make each item unique. All the molds can be used multiple times without any loss of quality, adding to the value of this innovative sustainable tool and material. In order to create a motif under influence, I choose to have two very different universes coexist in the same print: the Japanese landscape pattern and the Memphis style of the 80's.
An atmosphere that evokes slowness and silence. The 80s combine sharp and random shapes, vibrant frames and saturated, noisy colors. An atmosphere full of energy, speed and noise. This leads me to design patterns that combine these ingredients, balancing their differences. Marta Velasco Velasco.
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In the 17th-century the Dutch controlled all the islands except one, Run, an islet claimed by the English. In their urge to keep the nutmeg monopoly, the Dutch agreed to cede Manhattan back then called New Amsterdam to the English in return for Run. After this hype, the spice started loosing its value and Banda got forgotten. It plays with fact, fiction and storytelling to represent that world. The work integrates silk, bamboo and recycled plastic to comment on changes of material value while transporting us to the islands.
The project 'A Rug Like Me' is a study of the history and present of weaving and women. I ask how the social situation of women has affected how the aesthetics of weaving.
I try to understand why tradition pervades the craft, while in my own experience I can only weave abstractions of myself. When a woman is forced into a structure where she is meant to please, she weaves what is expected of her. If the mind has been limited by visible and invisible power structures, that is reflected in the weaving. Does the piece become what we want to be or is it impossible to hide who we are in the work?
What do we pass down and why? During my time at Konstfack I have focused on weaving rugs.
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