Microplastics have been found in all aquatic environments and once they entered they cannot be removed. This has put new focus on the sources of microplastics where the textile industry has gained large attention. Much consideration has been given to the production of fleece fabric and the use of polyester but this report aims to explore the whole design- and production process and mapping those activities which has a large impact on microplastic release. Together with participants from five (5) Swedish Outdoor Brands and seven (7) field experts has this report mapped possible challenges and solutions. Main findings are 20 different challenging areas with 19 suggested solutions on how to prevent microplastic pollution. The result is the first in its kind doing a comprehensive study of the whole textile design- and production process and provides a broad foundation for further research. As there still is a considerable lack of knowledge about many of the issues that were brought up, both within the design- and production processes, has a shared responsibility among companies, organizations, universities and private persons been raised. Through common platforms are inspiration and awareness spread and this report aims to contribute to the gap in the current knowledge.

This degree work is a project that started out from weaving, which became the founding technique for how a modular textile took its shape, woven together as interlaced parts. Modularity was taken into this work in order to avoid a flat result and give the woven textile playful attributes and multiple functions. By using bold colours and layers in weaving, an investigation of the interactive and playful side of this textile technique was done. The method was based on workshops where geometrical forms were systematically woven into a repetitive pattern according to the plain weave binding. The result were three voluminous textiles with a given hierarchy of colours and material as they were placed at different levels. Practically, it is a textile that can be fitted to different spaces by being either diminished or built out, in order to be interactive. The quantity of elements within the textiles became the essence and the quality in the project and the advantage is that it is a textile that can be made from waste.

Teddy bears have become a universal symbol of our childhood, but we tend to forget them when we grow up. The toy industry is a growing empire where manufacturers constantly compete for consumers' attention. This results in growing waste from the toy industry and a need to find solutions to how to deal with it. This research explores repurposing possibilities of discarded stuffed animals based on their colour, form, texture, and print to create sculptural textile objects through deconstruction, patchwork, and sculpting techniques. This research was conducted by performing a series of design experiments exploring discarded stuffed animals through deconstruction and time-limited sketching. This allowed various sculptural objects to be constructed mainly by crazy pathworking and casting with different plaster materials or teddy bear filling. The outcome is a collection of 7 textile objects with a suggestive function, but the material it is constructed in challenges it. They extend from recognisable vase forms to forms that almost are unrecognisable. These objects place themselves in the field of not only textile design but also functional art. This research contributes to the field of textile design by suggesting a new usage for an atypical material, discarded stuffed animals. Furthermore, the collection Teddy Vessels [also known as our former best friends] proves that discarded stuffed animals still have a place in our lives even though we have forgotten them.

The project Kera-Plast aims to re-loop humans and nature by questioning the current systems and ethics through materiality. Human hair, currently considered as waste, functions as the base for the material exploration fabricated through thermo-compression molding. The flexible, short and opaque keratin-fibers get glued together with heat, pressure and water, acting as a plasticizer during the compression molding process. The results are stiff and remind on plastic due to shine and translucency. Aesthetics and function of the resulting material are controlled and designed by traditional textile techniques as knitting, weaving and non-woven processes. The material samples display the potential of Kera-Plast in the categories of 3D surface structures, patterns, shapeability and the influence of light. The findings also provide information about the parameters for designing with keratin fibers through the thermo-compression process. It can be concluded that despite all ethical and cultural factors, Kera-Plast and its fabrication method has the potential to add a sustainable, functional and aesthetical value to the design field and our future material consumption.

This work places itself within the field of textile design and atmospheric design. The primary motive is to integrate and broaden the two fields by developing design proposals in textile design. The aim is to explore how to change the atmosphere of a space through the use of fabric manipulations, surface patterns, colours, light and shadow. The design method consisted of material explorations, light and shadow experiments, design of surface patterns, heat transfer print and pleating techniques. Colours were tested in combination with lights. The result is a collection of three textile dividers of space that by the impact of light change the current atmosphere in public spaces, and by doing so, the perception and mood are changed. The value of this work is to show design potentials for new expressional possibilities, a new approach to merge the fields of textile design and atmospheric design.

Within Alinea, the purpose is to explore the use of bioplastic as unconventional yarn in the traditional technique of handweaving. The focus toward bioplastic as a design material and the technique of handweaving as the fabrication technique to generate broader alternatives for using bioplastic materials in woven textile design. Described through experimental and practise-based research, handwoven bioplastic samples have been explored to investigate the methods of structures and bindings, gradient colouring and print design within bioplastic and weaving. With the attempt to make bioplastic more accessible for the textile industry. The experimental design research resulted in scaled prototypes that showcase a collection of seven pieces that present various design possibilities and potentials regarding bioplastic within the textile weaving technique, including distinct structural tactile qualities bioplastics can offer to the field of textile. It can be concluded that bioplastic can play a role in becomes a desirable material steering textile design towards a more sustainable future in the textile design field. Furthermore, give handwoven materials new aesthetics by producing unique structures and tactile features.

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Motivated by studies of dress and the importance that it has on identity formation and expression of self, this research tries to answer the question of how can an interactive tool create greater means for self-expression of the dressed body through the design of textiles? The goal of pursuing the question is to ultimately promote a more sustainable fashion culture that relies on the creation of long-lasting products. Employing Research through Design as the main methodology, this research went through a series of sequential design experiments – namely workshops and prototypes – with the ambition of generating knowledge in the context of the design space, and in order to inform the design of the interactive tool proposed by the research question. The main research findings suggest that the direct engagement with the painting of textiles through ruled self-reflection tasks, in collaboration with a machine, provides great means for the creation of long-lasting products – showing, therefore, a fruitful path towards fashion sustainability. In addition to the conception and building of a final artifact, this research resulted in a set of guidelines that aims at advising the creation of other future artifacts.

The problem with which this study is concerned is that of determining the possible differential effects of the alternative training patterns of handcrafted textile design students in universities and polytechnics in Nigeria on the scores in courses for their final-year training as well as the type of first employment that students secure after graduation.

In order to develop a program whereby people can be educated to appreciate and choose the best contemporary designs among the many textiles that are available, it is necessary to know which types of textiles, if any, among those designed in the modern manner, the public accepts, which it rejects, and the factors that influence selection. This study was made to discover those factors -- such as color, subject matter, and utility -- that determine popular choices in a representative group of well-designed modern printed textiles which were available on the Dallas market. The textiles were placed on public exhibition at the Dallas Museum of Fine Arts.