Fashion designers are presented with a range of different principles for pattern cutting and the interest in this area has grown rapidly over the past few years, both due to the publication of a number of works dealing with the subject in different ways and the fact that a growing number of designers emphasise cutting in their practices. Although a range of principles and concepts for pattern cutting are presented from different perspectives, the main body of these systems, traditional as well as contemporary, are predominately based on a quantified approximation of the body. As a consequence, the connection of existing models for pattern construction to the dynamic expression of the body or the biomechanic function of the body is problematic. This work explores and proposes an alternative model for pattern cutting that, unlike the existing models, takes as its point of origin the actual, variable body. As such, the research conducted here is basic research, aiming to identify fundamental principles in order to create alternative expression and functions. Instead of a static matrix of a non-moving body, the proposed model for cutting garments is based on a qualitative approximation of the body, visualised through balance lines and key biomechanic points. Based on some key principles found in the works by Geneviève Sevin-Doering, the proposed model for cutting is developed through concrete experiments by cutting and draping fabrics on live models. The result of a proposed model is an alternative principle for dressmaking that challenges the fundamental relationship between dress, pattern making and the body, opening up for new expressions in dress and functional possibilities for wearing.

This thesis aims to discuss ways of opening up the design brief when designing for extreme environments such as intensive care units and remand prisons. Focusing on “designials” (fundamental forms of design being), the methodology intends to illustrate the fact that objects may directly impinge upon certain “existentials” (fundamental forms of human being). Moreover, the method is a form of critical design that enables designers to shift focus, from analysis of the functionality of a design in use, e.g. by performing a functional analysis, to analysis of the form of being human that a design in use defines. More importantly, this thesis considers what may happen if we do not take into account this aspect of design; in other words, the “dark side” of design thinking. / <p>Editor: Lars Hällnäs (LHS), Swedish Shcool of Textiles</p>

As computational technology and new materials enter the world of textiles, our view on textile materials is challenged. Textile interaction design suggests a new design space in which the fields of textile design and interaction design are merged. This work contributes to the introduction of textiles as material for interaction design and focuses on spatial and temporal design of the dynamic elements of textiles – the elements that enable interaction. The result is various interactive textile material examples which are meant to inspire new expressional uses of textile materials thought of as slow, interacting hardware able to inhabit our everyday environments through responsive light, tactile connections, and informative decorations etc. Design experiments conducted within this thesis are framed by a research programme, which is set up as an initial guideline to explore visual and tactile interactive properties of knitted textiles. Together with practical knowledge, the result is a theoretical framework that frames essential features of an interactive textile design where the defined design variables introduce a way to formulate what it is we design when we design for dynamic elements. By introducing notions such as the potential and precision of interaction, design variables relating to both physical and programming design are derived from the design of the dynamic elements of a material. A retrospective analysis of the experiments in relation to four acknowledged interaction design dimensions establish a link between the fields of interaction design and textile design. This work is based on the design experiments Electrical Burnouts, Costumes and Wall Hanging, Touching Loops, Designing with Heat, Functional Styling, Repetition and Stretching Loops, where the implemented structures are seen both as materials for further design and examples meant to provide inspiration in a more general sense. / <p>Academic dissertation at the University of Borås to be publicly defended on Wednesday 5 June 2013 at 13.00 in lecture room M404, the University of Borås, Allégatan 1, Borås.</p>

The work presented in this thesis investigates through practice a new field of textile design exploring the visual effects of moving light as a continuous time-based medium. Thereby, the textile design pattern reveals its composition, not in one moment of time any more, but in fact over time. The thesis consist of four parts: a solo exhibition at the Textile Museum in Borås from 17th February- 28th March 2015, five posters, an interactive thesis including 48 films (download file) and present thesis book. The artefacts displayed in the thesis show a varying range of examples which explore aesthetical possibilities of how light can be integrated as an active part into textile structures, ranging from weaving to braiding techniques, both hand crafted, as well as industrial produced. Thereby three main groups of experiments: colour flow, rhythm exercise, sound_light experiment explore and discuss a range of different time-based expressions. Thus define and establish relevant new design variables and notions, whilst working with time-based design processes. In the following descriptions of these experiments two forms of writing have been used to describe the experiments. One is purely descriptive, neutral form to describe the experiments as such, whereas text titled Research Diary Notes includes reflections and personal comments on the experiences during work on the experiments. The interactive thesis and the exhibited artefacts are an invitation to view new textiles expressions and are an initial guide on the road toward future time-based design works, particularly in the area of light emitting textiles. / <p>Disputationen sker den 17:e mars 2015, kl. 10-12 i Textilmuséet, Textilhögskolan, Skaraborgsvägen 3, Borås. Opponent: Dr Nithikul Nimkulrat, Professor i textildesign, Head of Department of Textile Design, Estonian Academy of Arts.</p><p></p><p>Disputationen genomförs på engelska.</p>

Global Fashion, via the logic of high-speed, large-scale industrial production and anachronistic high-volume consumption habits, causes significant social and environmental damage. Local Fashion isunderstood as part of the Slow Fashion movement that aims to change the functions of fashion so that they support or lead the quest to flourish within known human and planetary boundaries.This Licentiate thesis examines, through an exploratory narrative based on new and existing research, two Local Fashionalities. Växbo Lin is a small linen manufacturer/brand in Hälsingland, Sweden, producing new heritage home textiles. WomenWeave is a handloom social enterprise inMadhya Pradesh, India, making naya khadi. Their approaches and practices are presented and discussed vis-à-vis notions of “globality”, “locality”, design management, and the quest for sustainability.The narrative aims to improve understandings of what Local Fashion is, and contribute to the effort to design new fashion systems grounded in logic relevant to contemporary human needs and aspirations.

This licentiate thesis presents and discusses experimental explorations in search for new methods of form-thinking within the knitwear design process. The position of textile knitting techniques is somewhat ambiguous. This is because they are not only concerned with creating the textile material, but also with the form of the garment as these two are created in the same process. Consequently, the common perception of form and material as two separate design parameters can be questioned when it comes to knitting. Instead, we may view it as a design process that has a single design parameter; a design process in which the notion of form provides the conceptual foundation. Through conducting a series of design experiments using knitting and crochet techniques, the notion of form was explored from the perspective of the way in which we make a garment. The outcome of the experiments showed that there are possibilities for development of alternative working methods in knitwear design by viewing form in terms of topological invariants rather than as abstract geometrical silhouettes. If such a notion, i.e. a notion of a more concrete geometry, were to be implemented in the design process for knitwear, it would provide another link between action and expression that could deepen our understanding of the design potential of knitting techniques and provide the field with new expressions and gestalts.