This thesis evaluates the unique social function, history and tradition of tin chok textiles (a weaving technique whereby the yarn is picked out using a porcupine quill), which originate from the Mae Chaem area of Chiangmai province in northern Thailand. It represents the first systematic examination of the culture and tradition of the Mae Chaem hand weavers, one that analyses and contextualises their art and provides a comprehensive digital resource. It examines the critical and analytical context of the tin chok tradition, the economic and social influences which have affected it, and its future sustainability. This project involved several field trips, to harvest oral history interviews with expert tin chok weavers, teachers and academics, who have detailed knowledge of the technique and its history. A comprehensively representative digital catalogue of tin chok textiles from Mae Chaem is presented. A corpus of historical examples was assembled from museums, personal archive collections, and publications and these are compared with contemporary tin chok textiles. An archive collection of examples of weaving was assembled, and the methods, techniques and processes of the weavers were observed closely, to enable a better understanding relative to the analysis of tin chok textiles in Mae Chaem. The techniques, significance and meaning of patterns and motif types are examined in relation to cultural and economic factors present in the wider South East Asian context. Trends, such as transition from production for the domestic, subsistence market to the global tourist industry, are analysed, and the influence of Buddhist theology, changes in Thai culture, and the undermining of weaving by the importation of factory-produced garments are assessed. Ways are sought of reorientating the end use of the woven product, with a view to offering opportunities for the tin chok weavers to create and extend a niche market.

No description available.

No description available.

Through this research, I examine how new, natural, socially and environmentally sustainable materials for western couture millinery may be sourced from a group of marginalized women in south-eastern Uganda, underlining the continued relevance of craft as a mode of production that is both flexible and inclusive. Post-colonial, western perceptions of ‘African’ aesthetics are deconstructed and reconstructed through plaited, palm leaf braids that reflect the irregular surface texture found in traditional African artefacts. These create both a metaphorical and visual ‘pidgin’ language that holds meaning for craftspeople in the developed world as well as for the makers. In the process, questions have been asked about western requirements for product uniformity and how the ‘hand of the maker’ - as signified by irregularity – may be positioned in the markets of industrialized and post-industrialized societies. By creating a product with the potential for longevity and versatility, I have attempted to minimize some problems inherent in sourcing from small-scale craft development projects. The research has been practice-led and is supported by this written dissertation. My own craft practice as a millinery designer and field trips to Uganda - in order to establish a working relationship with the makers, understand their circumstances and to develop the Pidgin Plaits - has been at the core of a process of exchange. Cultural and industrial networks have also been developed in Uganda that may support the longer-term sustainability of the project. Through my research, I identify the considerations confronting the designer seeking to establish such a project and explore the multiple social, cultural and economic factors that impact upon the makers in Uganda,in a project with the potential to transform lives and cultures.

Significant proportion of composite industry is currently produced using prepregs, cured in autoclave which is very expensive and time consuming process. Dry textile preforms in conjunction with liquid molding techniques can lead to significant reductions in material costs, manufacturing costs and cycle times. These dry preforms are typically 2D woven or braided fabrics which also required lay-up and have low interlaminar properties. Through thickness reinforcement provides solution for this problem as it gives better interlaminar properties as well as near net shape performing. Various 3D performing methods are discussed and reviewed in this research where 3D weaving comes out as ideal process to develop near net shape preforms with more efficiency and better material performance. This research highlights the advantages and limitations of conventional 3D weaving processes. A number of approaches for improving the flexibility of 3D weaving process have been presented including changing fiber architecture in different sections of the preform, tapering in the width and thickness directions and finally to change the fiber orientation. It is concluded that multi step and taper fabrics can be produced on conventional weaving by some modifications. Furthermore, a novel 3D weaving machine is designed and developed after reviewing various patents and weaving methods to overcome limitations of conventional weaving machine. Key criterions from limitations of conventional weaving processes are considered and modified such as multiple weft insertion, limited warp stuffer movement, linear take-up to develop 3D weaving machine. In order to achieve isotropic material, two textile technologies are combined to get final requirements. 3D weaving can provide us fibres in 0° and 90° direction with through thickness reinforcement, whereas braiding can satisfy the requirement of bias direction fibres. Near net shape preforms such as taper and multistep are produced and laminated. Preliminary testing is performed on these laminates to evaluate fibre architectures. Further work is required in terms of machine modification which can provide weave design flexibility to explore various multilayer weave architectures. Thorough testing is required to evaluate and define structure performance and effect of fibre damage during weaving process.