In this paper I introduce and explain the construct of ‘Craft Fiction’ as a setting for my own artistic work. Within a fictional framework, I am mediating between the field of craft and the contemporary environment of relocated materialities and digital worlds I find myself in. Using the vehicle of language and analyzing those dialogue that are ongoing in craft processes, I am assessing the intimate relationships between maker and its tools/machines, in order to discuss hierarchies and purpose of crafting.

This work places itself in the field of knitted textile design and the context of body and interior. The primary motive is to investigate the tactile and visual properties of oysters and pearls, inspired by Botticelli’s painting Venus. The aim is to explore free-flowing and texture through knitted three-dimensional textile surfaces. Material and colour choices have been made based on the source of inspiration, the oyster, and investigated on industrial circle knit and flat knit machines. The circle knit’s expression has been explored from a hand knitting perspective, using the manual elements to push the machine’s technique to design new expressions. The result of the project is a collection that has four suggestions for a knitted, three-dimensional surface, each inspired and developed from one specific part of the oyster; the shell, the nacre, the flesh, and the pearl. This work investigates the potential of using circle knit machines, commonly used in fast fashion for bulk production, as a tool for handicraft and higher art forms. The final collection pushes the conversation regarding the future uses of the knitting machines and investigates how rigid objects can be expressed through the flexible structure.

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This thesis proposes the use of seashells and their behaviours to create a methodological framework for designing wearable knitted sculptures for the body. The behaviours of exposure, protection, growth, and constriction are used to map out the cyclic life pattern of the woman's body and explore its growth. This cyclic view of the woman's body is rooted in re-imagined storytelling of classic myths, continuing the traditional practice of retelling stories to fit or change the perception of current social constructions. The mythology of maiden-mother-crone is aligned with seashell growth cycle, creating a conceptual dialogue between the two. This creates a dynamic storytelling within the research which informs the behaviour and look of the individual pieces. The work used a methodology that explored how digital tools can be incorporated into the sketching process. Experiments, digital and physical, were conducted to support and deepen the exploration of the concept regarding seashells growing on human bodies in both the metaphorical and physical sense. The methodology included the notion of Tableau vivant, a tableau-like performance by the model that is captured as a still image to convey the design expression. The collection tells a story where each piece is a point in the lifespan of shells and humans, drawing parallels between the individual growth cycles and establishing meeting points through body characteristics and social symbolism. This makes the textiles not only an extension of the body with transcribed feelings and personalities but also a representation of it. This thesis presents a twofold result, the five-pieced collection of wearable garments and a series of photographed images that contextualize the collections’ interaction with the woman's body.

Det talas allt oftare om de problem som världens plastanvändning åsamkar miljön genom exempelvis nedskräpning och mikroplaster. Det finns många olika typer och användningsområden för plast. Den typ som anses värst i avseende till miljöpåverkan är plasten som används en gång och sedan förlorar sin funktion, det som idag kallas engångsplast. Ett av de vanligaste områdena där engångsplast används är inom förpackningsindustrin för livsmedel. År 2019/2020 växte en projektidé bland en grupp elever om att se över alternativa förpackningsmaterial till främst frukt och grönt i matvaruhandeln. Idéen utvecklades och vid en expo på Textilhögskolan år 2020 presenterades ett citrusnät för ekologiska citroner stickat på en manuell stickmaskin i pappersgarn. Som fortsättning på arbetet är nu nästa steg att undersöka möjligheterna att sticka en motsvarande prototyp på en industriell maskin och vilka utmaningar som följer. Stickningen genomfördes i Borås på Textilhögskolans trikålabb. Maskinen som användes är en flatsticksmaskin av typen STOLL CMS822 HP knit and wear. Pappersgarn av olika garnnummer kom uteslutande från företaget OJO+ Fibers och baseras på pappersmassa från manillaplantan. Två bindningar stickades, en mesh-bindning och en stickning med flotteringar. Mesh-bindningen testades även med garn av olika garnnummer och olika antal ingående garn. De viktigaste parametrarna för möjligheten att sticka på industriell flatsticksmaskin visade sig vara garnets styrka, styvhet samt maskinens delning. Efter två separata produktionsgenomgångar genomfördes en visuell bedömning som avgjorde vilka stickningar som lämpade sig att gå vidare till ett dragprovstest. Standarden som användes för dragprovstest var (SS-EN ISO 13934–1:2013) och genomfördes på en Tinius Olsen H10KT (Elastocon). Fem provkroppar av varje stickning testades först i torrt- och sedan vått tillstånd genom blötläggning enligt standard. För att jämföra data från dragprovstestningen genomfördes en variansanalys för att upptäcka eventuella skillnader mellan de olika konstruktionerna. Variansanalys genomfördes även inom varje grupp för att undersöka skillnader mellan torra och våta prover av samma konstruktion. Resultatet från dragprovet visar en stor spridning i datamaterialet. På grund av spridningen går det inte att statistiskt säkerställa några slutsatser kring vilken konstruktion som är starkast. Främsta anledningen till spridningen är avvikelser från standarden som var nödvändiga för att genomföra testingen samt faktumet att (SS-EN ISO 13934–1:2013) huvudsakligen är till för vävda varor, ej stickade. Två av mesh-konstruktionerna kunde påvisa signifikant skillnad i mätresultatet mellan de våta respektive torra proverna, som då visade en svag tendens till att de våta proverna klarade högre spänning. Detta kan komma till användning för att enkelt öka garnets styrka vid stickning. / There’s an ongoing worldwide discussion regarding the environmental impact of plastic use. Single- use plastic is considered one of the most problematic due to the loss of functionality after one use. A common industry using single-use plastic is the food packaging industry. In 2019/2020, a project idea grew to review alternative packaging materials for fruits and vegetables. A prototype was presented at the Swedish School av Textile’s expo in 2020, a citrus net hand-knitted in paper yarn for organic lemons. The next step was to investigate the possibility of knitting paper nets on industrial machines and what difficulties may arise. The knitting was carried out in the Textilhögskolan in Borås machine hall on a flat knitting machine, a STOLL CMS822 HP knit and wear. The paper yarn used came exclusively from OJO+ Fibers and was made from pulp from the manilla plant. Two bindings were knitted, one mesh and one with floatations. The mesh binding was knitted in multiple variations, yarn of different yarn numbers and numbers of ingoing yarns. The most important parameters for knitting on industrial machines turned out to be the strength of the yarn, stiffness and gauge of the machine. A visual assessment was carried out after two separate production reviews and determined which knits were suitable to proceed to a tensile test. The standard used for tensile tests was (SS-EN ISO 13934-1:2013) on a Tinius Olsen H10KT (Elastocon). Five specimens of each knit were tested, first in the dry state and then in the wet state. A variance analysis compared the data from the tensile test, partly between the different constructions and between dry and wet samples within each group. The result shows a large spread within the data material, which cannot determine with certainty any conclusions about which construction is the strongest. The main reason for this spread is necessary deviations from the standard and the fact that (SS-EN ISO 13934-1:2013) is mainly for woven goods, not knitted ones. Two mesh constructions demonstrated a significant difference in results between the wet and dry samples. A weak tendency showed wet samples withstanding higher stress than dry ones, which could be a solution to increase the strength of the yarn while knitting.

"Revealing Ribs": a project exploring the intersection between ribbed textiles and three-dimensional forms. "Revealing Ribs" is a project that delves into ribbed textiles and their potential to contain and transform patterns when they interact with three-dimensional forms. The project aims to unravel the intricate dynamics between ribbed textiles and three-dimensional forms, enabling a deeper understanding of their synergistic potential. By pushing the boundaries of traditional textile design, "Revealing Ribs" offers an opportunity to expand the horizons of incorporating surface patterns into knitted textiles for interior applications. It opens new creative possibilities and allows textile designers to explore the symbiotic relationship between fabric and form. This project has proposed three ribbed textiles through careful experimentation and craftsmanship, each enclosing different three-dimensional objects. By exploring how these materials can contain patterns that undergo captivating transformations when intertwined with various forms, "Revealing Ribs" shows the interplay between textiles and form. The significance of this project lies in its potential to expand the use of ribbed textiles as a medium for dynamic pattern expression in interior design contexts.

We have a tendency to want to sort our surroundings, we set things against each other, value them and place them in a hierarchical order.Where something goes up, something else goes down.We attribute different properties to materials, techniques and spaces and load them with values. Our perception of the environment is based on a collective construction. Textiles are sorted among the home, women and decoration while glass is associated with exclusivity, traditional masculine craftsmanship and architecture.Where something goes up, something else goes down.Textile can be defined as material, like fiber, or as technique, like weaving, knitting, sewing. Threads that together form a composition by running over and under each other.Where something goes up, something else goes downCan I disrupt the hierarchical order between textile and glass by merging them? Because, I would like to change our view of how we can use textiles in a spatial context.My experience is that textiles in spatial and architectural contexts are often something added afterwards to adjust things that the building process has not considered. But other materials such as glass have an obvious position as part of the definition of space.

The purpose of this paper is to analyze the project Knitting House using art and architectural theories to question the forms of the project as well as the town planning in the area of Husby, a suburb to Stockholm. In order to stress the architectural issues in the area of Husby, the thesis examines the aim and intention of the project Knitting House. The project explores the standardized architectural form that was used and built under the Miljonprogrammet, through the years of 1960-1970 in the neighborhoods of Järvafältet. The thesis will also investigate some of the problems that arise when attempting to discuss knitting as a method used to perform Knitting House.  This paper explores the relationships between public and private spaces, the areas in between them and how they interact. The claim made throughout the thesis is that Knitting House can function as a political catalyst by presenting a combined perspective of art, architecture and politics to address the social and ethnic segregation in suburbs like Husby.

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Esta pesquisa qualitativa buscou a realidade ambiental da produção industrial de malharias selecionadas na região de Monte Sião, em Minas Gerais, quanto a maior ou menor presença de preocupações de produção mais limpa, bem como sua visão em termos de redução do uso de água, de energia, e, especialmente, de resíduos sólidos têxteis. Justificou-se pelas preocupações relacionadas ao meio ambiente e sua preservação que implicam em questões cada vez mais pertinentes e abordadas nos estudos relacionados ao vestuário de moda, tal como o design que está inteiramente conectado às mudanças cotidianas, e interessado na redução de materiais. É neste contexto que se encontra a produção mais limpa (P+L), almejando agregar melhorias no processo ou no produto, buscando soluções por meio da apresentação de alguns processos que norteiam estes caminhos. Em vista disso, foi elaborada uma revisão da literatura especializada em têxtil, moda e cenários ambientais, e foi realizada uma investigação de campo baseada em métodos qualitativos exploratório de pesquisa, utilizando-se de observações diretas e entrevistas semiestruturadas efetuadas junto às malharias. Alguns resultados da investigação sugerem que a realidade ambiental da produção industrial de malharias tenha uma aproximação com a produção mais limpa, sobretudo, em relação ao tratamento dado aos resíduos sólidos têxteis. Na abordagem da pesquisa de campo observaram-se diferenças quanto às ações voltadas para a minimização de água, energia, e a geração de resíduos sólidos têxteis, ao passo que evidenciaram uma preocupação e tratamentos aos mesmos, indicando de certa forma que existe um equilíbrio quanto ao direcionamento do resíduo têxtil e a dedicação no tratamento, sendo um importante ponto de cuidado do polo industrial / This qualitative research sought the environmental reality of some selected industrial knitting production in the region of Monte Sião, in Minas Gerais, regarding the greater or lesser presence of \"cleaner production\" concerns, as well as its vision in terms of reduction of water use, energy, and especially solid textile waste. It has been justified by the environmental concerns and their preservation that imply issues increasingly relevant and addressed in studies related to fashion clothing, such as design that is fully connected to everyday changes, and interested in reducing materials. Cleaner production is found in this context, aiming to add improvements in the process or product, seeking solutions through the presentation of some processes that guide these paths. A review of the literature on textiles, fashion and environmental scenarios and a field research were carried out based on qualitative exploratory research methods, using direct observations and semi-structured interviews accomplished on-site. Some research results suggest that the environmental reality of the industrial production of knitting products is in line with cleaner production, especially in relation to the treatment of solid textile waste. In the field research approach, differences were observed regarding actions aimed at minimizing water, energy, and solid textile waste generation, while showing them a concern and treatments, indicating in a certain way that there is a balance to the direction of the textile waste and the dedication in the treatment, being an important point of care of the industrial pole