Biobased Innovation as a Fashion and Textile Design Must: A European Perspective

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

TEXTILES IN THE RESIDENTIAL INTERIOR

The relevance of the study is due to new experience in architectural design, new technologies and types of materials and the need to generalize and systematize them to expand the formative possibilities of textiles in the design of residential interiors. Research in the field of interior textile design was carried out by: T.I. Isayeva, Khabibullina, E.V. Zmanovska and others. The purpose of the study is to identify areas, functions and compositional techniques of textiles in residential interiors. The historical reference of development of textile production is resulted. The structural analysis of textiles in the interior by types of textile materials, production technology, types of weave, types of ornaments; identified qualities of textile materials, which determine their widespread use and the main areas of application of textiles in modern residential interiors. According to the results of the research, the main functions of textiles in the interior are revealed: creation of a comfortable microclimate in the room; psychological comfort; space adjustment; visual isolation; protection of surfaces from damage and pollution; hygiene products; decorative; compositional component of interior space design. The description of types of textile wall-paper, curtains is resulted. The compositional function of textiles in the interior is revealed: accent, dominant, background, rhythm. The conclusion is made that at a choice of textiles and reception of placement it is necessary to consider regional natural and climatic conditions; the style decision of an interior is accepted; function, size, orientation on the sides of the horizon of the room; combination of textiles with finishing of surfaces of enclosing designs and subject filling of the room; combination of fabrics in texture, color and pattern; price segment.

SEEKING THE MARKS OF KNITTING WITHIN THE HISTORY: NALBINDING

Being a textile surface formation method basing on binding and passing the loops prepared separately with an assistant such as crochet needle, knitting needle or shuttle and coming from the ball through one another, weft knitted fabric’s development process within the history has mostly been associated with hand-knit started with knitting needles. Together with this, scientific examinations and dating methods conducted on the needles and breadths brought out in the archaeological digs carried out world-wide proves that the commencement of hand-knit within the history dates back older times. The findings came up in archaeological digs show that knitting began with world-widely known nalbinding technique or single needle knitting. Nalbinding is based on binding the loops formed with needle and thread to one another in the form of a cyclic hoop within themselves. Although nalbinding is expressed in several Turkish resources related to knitting, it is an old technique that is not commonly used. This technique used in Northern Europe shows similarity with shuttled knitting, fishnet knitting, point lace techniques commonly known in Anatolia and in terms of formation of surface with thread hoop and usage of single thread carrier. Even though nalbinding technique is not common in Anatolia, the fact that some needles thought to have been used as knitting needle were found in the recent archaeological digs (Başur Höyük–Siirt, Körtik Tepe-Diyarbakır) makes us consider that the history of knitting dates back to 11.000 BC in these lands and knitting technique made by using knitting needle might have been used in Anatolia. Besides this, there is not an assessment on whether nalbinding was used in Turkey or not. It is observed that there is an increasing interest in nalbinding technique, which is used for gloves, socks and knit cap around the world since 1970s. Revival of this technique in Scandinavian countries is in question. For that reason, this research was designed for the ones showing interest to textile design techniques as a collection to introduce the history and technique of nalbinding technique, and its needles over knitting needles found out in recent archaeological digs conducted in Turkey and around the world. Keywords: Knitting, nalbinding, single needle knitting, knitting in archaeological digs, knitting textile findings

Class and creativity in fashion education: A comparison of the pedagogies of making and design at British technical schools and art and design schools, 1870s–1950s

Discourses of creativity play a crucial role in shaping cultural perceptions of what constitutes creative labour, who performs it and where it is located. This article explores the historical role that businesses, policy-makers and education providers played as co-producers of discourses about creativity in British fashion and textile design education. Beginning with the emergence of new vocational courses for textile design and manufacture in the 1870s, it traces how the language used to describe conceptions of creativity evolved in relation to educational provision for textiles, dressmaking and, later, fashion over the first half of the twentieth century. During this period, creativity became associated with labour related to designing fashion and textile goods – such as illustration – rather than the labour of making them. This shift resulted from the establishment of fashion and textile design as respected courses within art and design schools, which backed the ideal of a professional designer. It was implemented at the expense of, and with the effect of undermining the creative labour of staff and students in vocational trade schools. As a result, this article challenges the idea that the development of fashion and textile design courses in art and design schools democratized the creative labour of design in the British fashion industry by opening opportunities for the middle-classes. Rather, it finds that discourses around creative labour worked to exclude the creativity of the predominantly working-class students at technical schools, with long-term implications for the relationship between socio-economic status and access to the creative industries.

Towards the Functional Ageing of Electrically Conductive and Sensing Textiles: A Review

Electronic textiles (e-textiles) have become more and more important in daily life and attracted increased attention of the scientific community over the last decade. This interdisciplinary field of interest ranges from material science, over chemistry, physics, electrical engineering, information technology to textile design. Numerous applications can already be found in sports, safety, healthcare, etc. Throughout the life of service, e-textiles undergo several exposures, e.g., mechanical stress, chemical corrosion, etc., that cause aging and functional losses in the materials. The review provides a broad and critical overview on the functional ageing of electronic textiles on different levels from fibres to fabrics. The main objective is to review possible aging mechanisms and elaborate the effect of aging on (electrical) performances of e-textiles. The review also provides an overview on different laboratory methods for the investigation on accelerated functional ageing. Finally, we try to build a model of cumulative fatigue damage theory for modelling the change of e-textile properties in their lifetime.

ROJA HAMA-HAMA? TINJAUAN LINGUISTIK TRADISI TENUN ENDE DAN PALU'E (Roja Hama-hama? A Linguistic Review of The Ende and Palu'e Weaving Traditions)

The study of loom technology and textile design structure can reveal connections between weaving traditions similarly to how comparative linguistics reveal connections between linguistic groups, due to the inherent conservatism of weaving. This paper compares the weaving traditions of the Ende and the Palu’e, who are linked in oral traditions, primarily by comparing weaving related terminology against the dictionary, and examines if Palu’e weaving have branched away from Ende weaving. The archaic style of Palu’e weaving may have a source in older forms of Flores design structures that became surpassed by developments, such as patola designs among the Ende. But the comparison of the weaving lexicons show a lower convergence than language generally and does not support a Palu’e weaving origin from the Ende, neither do the designs and basic techniques. The links between the Ende and the Palu’e are more on the proto-level; language group, culture, weaving tools. Studi tentang teknologi alat tenun dan struktur desain tekstil dapat mengungkapkan hubungan antara tradisi menenun serupa linguistik komparatif mengungkapkan hubungan antara kelompok linguistik, karena konservatisme inheren tradisi tenun. Artikel ini membandingkan tradisi tenun Ende dan Palu'e, dua kelompok yang terkait dalam tradisi lisan, terutama dengan membandingkan terminologi tenun dengan kamus, dan menguji apakah tenun Palu’e pernah bercabang dari tenun Ende. Gaya kuno tenun Palu’e mungkin memiliki sumber dalam bentuk struktur desain Flores zaman dahulu yang dilampaui perkembangan seperti desain patola di tradisi Ende. Tetapi perbandingan leksikon tenun menunjukkan konvergensi yang lebih rendah daripada bahasa pada umumnya dan tidak mendukung bahwa tenun Palu’e pernah bercabang dari tenun Ende, begitu pula desain dan teknik dasarnya. Hubungan antara Ende dan Palu lebih pada tingkat proto; kelompok bahasa, budaya, alat tenun.