Dead Skin, Living Machine is a process of making / building textile dead skin as inspirational source with respect to textile interaction. Knits are elaborated within perception, identity and interaction as witnesses of object's life in our environment, while the act of knitting is wildly ruled by its own responsive potential. Knitting and videos dialog work tend to explore the emergence of textile material. / Program: Master Programme in Fashion Design

I work as a textile designer specialised in knitted textiles.In my designs Colours take an essential role.Where Knitting and colours are working as a team in order to reach my aesthetics.My aim is to provide new expressions and possibilities in knitting to the market, having for objective to show a different dimension to knitwear. / Program: Master in Textile Design

The phenomenon of knitting groups is an increasingly widespread trend in urban settings. In this thesis, I argue that the resurgence of knitting groups in contemporary urban areas is the result of a nostalgic search for a sense of community within an otherwise complex and sometimes alienating urban landscape. Through ethnographic research in Atlanta, GA, I examine how women knitters whom I interviewed theorize their own interactions in the knitting community and the ways in which technology serves to facilitate these interactions. With lives revolving mainly around family and careers, the women who join knitting groups seek an escape from everyday life, friendship without strings, and the communal gathering focused around a leisure activity which holds social significance in daily life.

The warp knitting machine market has long been dominated by large-scale flat models, which have been steadily developed. Tubular fabrics are generally made in a special version of flat warp knitting machines containing two needle bars, one for each side of the tube, joined on the sides by yarns knitting alternatively on each bar. Warp knitting technology has failed to enter the circular knitting industry, dominated by weft knitting, due to its complexity in achieving warp knit structures in circular form. This thesis presents the design, synthesis, manufacture and test of an innovative method of producing tubular warp knitting fabrics, using a circular format rather than flat needle bars. This novel concept opens up many industrial applications from medical textiles to fruit packaging.

Thesis (M.A.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The recent and relatively unknown art form of graffiti knitting (GK) refers to the act of installing yarn-based products in public spaces in such a way that gently provokes sociopolitical and cultural dialogue. This qualitative study explores and analyzes the potential of GK as a cooperative, change-oriented or praxis-learning tool for a public-school art program. Few academic studies exist on GK and no studies have been focused on how graffiti knitting can impact interaction between high school students. The researcher's unit introduced male and female students in grades 9 through 12 to knitting and to GK, and it culminated in installations around the school environment of knitted products on benches, computer stands, lockers, and other high-visibility semi or permanent structures. Students who participated in the unit installations of GK voluntarily engaged in a round-table discussion. Their responses indicated that the process of learning to knit and the repetitive nature of the skill fostered a calm, collaborative space where students largely took over the teaching of knitting. Their responses also indicated that the act of GK impacted many of the participants' views on self-reliance in a consumerist society and challenged their largely conventional views on gender roles. Finally, their responses suggested that the experience of learning about, sharing, and engaging in GK altered the students' perception of the role and value of craft art in society. Learning and doing GK gave students an insider's view of the power of collaboration within an art community and provided them with a direct, empowering observation of strangers who encountered and reacted to their art. Feedback from participants in the GK unit largely supported the value of constructivist theories of learning, where the most beneficial learning is argued to happen when learners take responsibility for the learning of others. The GK artwork that students created was less important than the social changes that took place. That is, the key value of the unit wasn't so much the physical art produced by participants, it was the community developed among the students that grew inside the classroom and extended into the hallways and streets where the art was being experienced by both the makers and viewers. / 2031-01-01

This study is an initial attempt to investigate the dialog between knitting and tufting. The approach is to experiment with different knitting techniques for different results and subsequently use the tufting as a decorative shaping tool for the knitted fabric. By using the method of trial and error, the goal was to find criteria to make the material lead. Subsequently, this study questions the common way of tufting by bringing an element of stretchy into the execution. The thesis shows the development of an alternative backing for tufting to make a wearable fabric for fashion. It was concluded that it is possible to tuft in a knitted fabric as long as the fabric has tension. The criteria for executing this method were that the knitted fabric can not be too sparsely knitted and one has to use the loop-tufting gun to be able to make stitches.

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Parametric equations are commonly used to describe surfaces. Looking at parametric equations does not provide tangible information about an object. Thus through the use of physical materials, an understanding of the limitations of the materials allows someone to gain a broader understanding of the surface. A M$\ddot{o}$bius strip and Figure 8 Klein bottle were created through knitting due to the precision and steady increase in curvature allowed through knitting. A more standard Klein bottle was created through crochet due to the ease in creating quick increases in curvature. Both methods demonstrate the change in curvature for both surfaces where the M$\ddot{o}$bius strip and Figure 8 Klein bottle have slower changes in curvature, but the classic Klein bottle has a quicker change in curvature.

The focus of this degree work is on material interaction within the field of knitwear. Material combinations are often seen in fashion as a decorative effect to add shine, transparency or blocks of colour. The materials are put together as one flat material. This work embraces the different qualities and explores the possibilities to use material interaction as a way of creating form on the body. To achieve this, material experiments have been made to find combinations that had a big impact on each other. The materials that were found to be most suitable for this were the combination of metal and lycra yarn. This combination showed contrast in both volume and in density. The result is a collection of seven examples that is based from square knitted pieces where the interaction changes the form of the material and the garment. Creating form from material combination could lead to a new method of creating garments with larger form possibilities than is seen today in ready to wear knitted garments.

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