The main aim of this project was to find new tools and finishing techniques for designing recyclable, aesthetic ‘surfaces’ within the context of a ‘closed cycle polyester economy’ (Livingston, 2003). This can be explained as a mechanism of industrial ecology where all waste can be reused in a perpetual material metabolism or system. Of the total textile fibre produced globally, up to 65% is lost, post-consumer, to landfill, incineration or composting. Of this, at least 50% is said to be recyclable (Laursen et al, 2005). In particular polyester, a synthetic fibre group derived from oil, is responsible for as much as 79% of the global synthetic fibre market, at 31.9 million tonnes in 2009 (Engelhardt, 2010), and therefore represents a significant proportion of this textile waste. Polyester is a thermoplastic material and as such is fully recyclable, thus making a closed cycle polyester economy a theoretical possibility. Therefore sending it to landfill is an unnecessary waste of a non-renewable resource. However, if this textile fibre is used without an understanding of its material make-up, this inherent recyclability can be inhibited. Many design approaches to recycling are end-of-life interventions that can be described as ‘extended life techniques’ rather than ‘design for recycling’. In order to design fully recyclable polyester textile products, potential barriers to recycling needed to be identified and ‘designed out’ at the production stages. Current processing and finishing methods such as chemical coatings or lamination, commonly used in the industry’s ever growing desire for performance and functionality, often create barriers to this continuous cycle, by mixing materials with different reprocessing needs into an irreversible state. These complex hybrid materials leave a legacy of waste and prevent inclusion in future fabrications (Allwood et al, 2006). If polyester textile products are preserved as monomaterials during their production they can be returned for reprocessing into virgin quality material over several cycles through chemical repolymerisation. The research set out to find new, technological alternatives to these traditional finishing techniques which could be employed to preserve monomateriality in polyester materials in order to work within the boundaries of a Cradle to Cradle metabolism (McDonough & Braungart, 2002). Laser processing was selected as the most appropriate tool for development, because of its ability to manipulate thermoplastic materials through heat and its potential for flexible control through digital means. The resulting prototypes showed that several finishes which would normally need chemical coatings or adhesives could be achieved without any added agents. In summary, this research contributes to knowledge firstly by proposing a new model for designing ‘Cradle-to-cradle (C2C) textile products’ that can contribute to a future closed- loop material economy and secondly by presenting a new application of laser-welding technology as a tool for the finishing of 100% polyester textiles which can be repolymerised at end-of-life.

This thesis is concerned with the influence of the merchant converter on design practice in the Lancashire cotton industry in the period 1900-1939. The thesis aims to supplement the existing design histories of the industry by focusing, firstly, upon the role of design in the context of the industrial and commercial organisation of the industry, and secondly, by examining the practice of design in relation to the export trade in cotton goods. The Lancashire cotton industry had a unique structure that facilitated the production of a wide variety of cotton piece goods that serviced the needs of consumers in markets across the globe. Despite the enormous decline of the inter-war years, in which the major markets of China and India were dramatically reduced, the industry was able to maintain a significant export trade in cotton piece goods. The successful sale of these goods depended in part upon the successful interpretation of consumer preferences by their designers. Lancashire employed a large number of designers who worked either in the employ of manufacturers or on a freelance basis. The thesis examines the different categories of designer who supplied designs to the Lancashire industry, including their education and working practices. It also investigates the relationship between the designer and the agents who employed them. Lancashire's ability to respond appropriately to consumer demands played a significant part in establishing and maintaining exports to markets such as West Africa. A case study of the West African market illustrates the mechanisms that made this response possible. It also emphasises the importance of established merchant organisations that provided the links between consumer, manufacturer and designer. The case study underlines the key relationship between the communication of market information and the production of commercially successful designs. The thesis also addresses the issue of government intervention into an industry that was faced with increasing economic hardship as a result of the loss of markets worldwide. Design was not at the forefront of government policy in respect to the Lancashire cotton industry. Nonetheless, design issues were increasingly associated with government attempts to improve the trade in manufactured goods during the inter-war period, and this is particularly evident in the activities of the Board of Trade. The thesis evaluates the activities of two government organisations, the Council for Art and Industry and the Department of Overseas Trade, their reception by merchants and manufacturers of the day, and assesses the strengths and weaknesses of the contribution they made to the industry.

About a decade ago an attempt to build a viable wild silk industry, prompted by the discovery of the naturally available wild silk cocoons in the North West Province of South Africa, was made and a degumming plant was established in the Ganyesa village. The challenges faced in that establishment soon brought the developments to a standstill and cited among the problems was the lack of designer input in the production stages, which resulted in poor quality products. Focusing on the design problem the intention of this research is to explore a more effective design and production method for the wild silk fabrics. Through assessing the previously produced fabrics in order to identify their limitations, and by experimenting with innovative fabric production processes, a suitable aesthetic quality can be added to the final products. Starting with the investigation of current trends and choosing a design theme as a guide for the production process, fabric samples intended for use in upholstery of home furniture are developed. With the objective of successfully achieving a balance between aesthetic appeal and suitability for the intended end use, the fabrics are subjected to performance assessments based on internationally recognised standards. From the findings of this research it is therefore envisaged that, from the design aspect, proper redevelopment of the South African wild silk industry could encourage further involvement from textile designers. This would bring more improvement to the fabrics produced and encourage their use in different applications.

Thesis (M.S.)--Oregon State University, 1993. / Typescript (photocopy). Includes bibliographical references (leaves 99-102). Also available on the World Wide Web.

No description available.

Textile Grid är ett undersökande textildesignprojektsom utforskar olika tekniker och material för atttänja på gränserna i textil. Utgångspunkten ärett enkelt rutmönster som översätts i teknikernatryck, väv och trikå. Rutmönstret fungerar som enkonstruktion i textilen och genom att jobba medkontrasterna mellan hårt och mjukt, samt rörelseoch stabilitet utforskas både textilens utseendeoch rörelse. Resultatet är fem material som viksoch formas efter sin egen konstruktion. / <p>Textile Grid is a design projekt about exploring</p><p>different techniques and materials to expand the</p><p>boundaries of textile; what textile usually looks</p><p>like and how it appears. The starting-point is a</p><p>simple grid that is translated in screen-print,</p><p>knitting and weave. The grid works as a</p><p>construction in the textile. By playing with the</p><p>contrast between soft and hard, stability and</p><p>movement both the expression and the behavior</p><p>of the textile are explored.</p><p>Program: Textildesignutbildningen</p>

Thesis (M.F.A.)--Rochester Institute of Technology, 1983. / Typescript. Includes bibliographical references (leaves 24-26).

Thesis (M.F.A.)--Rochester Institute of Technology, 1983. / Typescript. Includes bibliographical references (leaf 27).

Thesis (M.F.A.)--Rochester Institute of Technology, 1984. / Typescript. Includes bibliographical references (leaf 26).

Patterns from the past have frequently been a source of creative ideas for fashion textiles. Culturally-inspired fashion products reflect traditional beauty, cultural identity, and national image, and preserve national cultural heritage (Perivoliotis, 2005; Hyun and Bae, 2007; Cho, 2009). The 'Tree of Life' or, as it is sometimes known, the 'Flower of Life', is a motif used to express ideas about immortality and the origins of life. As such, this motif has been an important element of traditional art and craft, frequently being incorporated into traditional textiles. The findings of Chinese interviews show that tree worship is still important, as are 'Tree of Life' patterns in China. Chinese 'Tree of Life' patterns are associated with fertility worship, longevity (long life) and immortality (eternal life). The review of literature and the findings from Taiwanese interviews indicate that elements of traditional Chinese patterns are suitable use in modern fashion, because Chinese imagery is a rich source of inspiration for contemporary textile designs, and China chic is pervasive in today's fashion. Exploring the relevance of the 'Tree of Life' pattern for the Taiwanese market, it was found that Taiwanese customers would be happy to see traditionally patterned designs of textile or clothing. This was felt to be important for the Taiwanese textile and fashion industry, which is currently in a state of change as it becomes design-focused rather than purely manufacturing-led. With fieldwork carried out in both China and Taiwan, and an investigation into the design process, the research concludes that the 'Tree of Life' can be re-created and adapted in different ways for fashion textile designs for the Taiwanese market. In addition, a model of a new design process for reinterpreting traditional patterns into contemporary ones is proposed. University students and designers can apply this design process model to any textile design project based on traditional patterns.