Em contrapartida ao fast fashion está o slow fashion, uma busca pela retomada dos meios de produção da cadeia têxtil, da valorização das técnicas tradicionais de criação e desenvolvimento e da desasceleração do consumo. Parte deste movimento incentiva a volta ao aprendizado de técnicas manuais de tecimento, como, por exemplo, o tricô, o crochê, a costura em máquinas domésticas, o tear e até a fiação. O presente trabalho tem como objetivo investigar e experimentar soluções ambientalmente sustentáveis para resíduos de malharia circular de algodão, utilizando técnicas manuais de tecimento, como o tricô e a matriz morfológica de Zwicky para desenvolver novos produtos de moda. Como matérias-primas principais foram utilizados resíduos de malha de três fontes: compra de novelos de produtores que trabalham diretamente com empresas que descartam as oréolas de malhas circulares; tecidos defeituosos descartados por empresas; peças descartadas por consumidores. A proposta para o desenvolvimento de novos produtos a partir de reuso de materiais, utilizou os seguintes métodos: o brainstorming, a matriz morfológica e o método de Pugh. Para a elaboração desse trabalho, foi feito um estudo bibliográfico da cadeira têxtil para compreender em quais momentos são gerados resíduos de malharia circular e como eles podem ser aproveitados para a elaboração do experimento deste estudo. Para direcionar ao ambientalmente sustentável, conceitos de sustentabilidade aplicados ao design e à moda, assim como conceitos de reciclagem, também foram estudados. A visão sobre técnicas manuais de tecimento e como estão inseridas no contexto atual de criatividade foi subsídio teórico para justificar a utilização do tricô para a experimentação e criação de peças de vestuário e acessórios. A geração de uma matriz morfológica de Fritz Zwicky foi a base metodológica para desenvolver novos produtos. O peso da matéria-prima resultou em produtos pesados para o uso em vestuário, mas aceitáveis para acessórios / Slow fashion opposes fast fashion as a search of reassuming the fashion productions means, valuing traditional handcrafts and slowing down consuming. This work aims to investigate and experiment environmentally sustainable solutions for circular knit waste, using handmade techniques like knitting and Zwickys morphological chart to develop new creative fashion garments. The works starts with a bibliographic study research on textile chain to understand in what circumstances the development of circular knit generates waste and how it can be used for this experiment. To base the study on environmentally sustainable solutions, a base study on fashion and design sustainability concept, as well as recycling, was also made. Handmade textiles, like knitting, and the creative view of handcrafts nowadays were also studied to justify it as a creative mean of experimentation for garments and accessories. Zwickys morphological chart generation was the methodological mean of developing new products. The use of circular knit waste to develop new products resulted in heavy garments, but it was well seen as a new yarn for handmade accessories

LUX studies the combination of electronics and knitted textiles from a textile design perspective. The thought of experiencing textiles without touching them sparked the idea of designing textiles where touch is essential for the visual appearance. The aim is to design knitted textiles that light up when touched, in order to create an interactive experience for the viewer. Optical fibres were chosen because of their ability to transmit light and copper yarn works as an electrical conductor that triggers the reaction of light. The shapes of the knitted textiles have been created by utilising the characteristics of the optical fibre. LUX introduces a working method in which the optical fibre is given an important role not only as a light source but also as a tool for shaping the textiles. The result of the work is three textiles that display how electronics, consisting of sensors and light, can be merged with textiles and contribute to interactive behaviour.

In the field of knitting, the binding weave knitting is mainly used for technical textiles, where the textiles have a high performance require- ment. Weave knit is constructed by placing an inlay thread between the knitting rows in a similar manner as a weft thread in a woven tex- tile. This work sets out to design three-dimensional weave-knitted tex- tiles in combination with intarsia and partial knit with the intention to develop surface pattern on three-dimensional shapes. The material used are effect yarn, monofilament and chenille yarn, which improve the properties of the textile. The three techniques enhance each other by their characteristics and give the possibility of formability. The re- sult shows an installation of textiles with three-dimensional character- istics, meant for spatial contexts which have the ability to function with light. The value of this work lies in the combination of the techniques and the application area in which the work is set.

The textile industry in South Africa is a significant contributor to the chemical load that public wastewater treatment plants have to process, and the discharge of toxic substances, especially to the aquatic environment. In order to address this issue at factory level, the processes at a textile plant, JMV Textiles were chosen for investigation into the possibilities of minimization of discharges of harmful substances into the environment. The study followed the principles of cleaner production, and the processes that were investigated and revised were: The conventional peroxide bleaching process employed a peroxide stabilizer that did not biodegrade easily. The bleaching process was changed, so that the prevailing conditions in the fabric and dyebath facilitated bleaching without the addition of peroxide stabilizer, and also reduced the alkali and energy requirements. Polyester‐viscose fabric was pretreated by bleaching with hydrogen peroxide, which seemed to be unnecessarily rigorous, because polyester and viscose, unlike natural fibres, are relatively clean and have good whiteness in comparison with natural fibres. The proposed alternate pretreatment was a scour with detergent and alkali. The pretreatment for all polyester‐cotton fabrics was also a hydrogen peroxide bleach. Due to the ability of medium and dark shades to mask the natural tint of cotton fibres, a simpler alternate pretreatment, consisting of an alkaline scour with sequestering agent, was trialled. An unacceptable proportion of the dyeings on polyester was rejected for dye‐stains and dye‐marks. A possible solution exploited the properties of using the finishing auxiliary chemical to alleviate dye‐stains and dye‐marks during the dyeing stage, instead of using the chemical after dyeing. The highly toxic carrier that was used to facilitate level dyeing of polyester fibres that had unacceptable variation in their dyeing properties, was replaced by a less toxic carrier. The formulation for dyeing polyester was simplified to eliminate the auxiliary chemicals that were not essential to the dyeing process. Pale reactive dyed shades on cellulose and polyester‐cellulose were washed off only with hot water instead of detergent. The revised procedures consequential to the study, offered significant environmental benefits by reducing the concentration and volume of effluent produced, substituting a highly toxic carrier with a less toxic one and saving energy and water. Implementation of the suggested changes also offered financial benefits. The management of the factory, however, accepted and implemented some changes, but wanted further investigations for others and a phased approach to the other suggested changes.

This paper describes a practice- based research project in which physical and emotional comfort and discomfort is experienced by the human body. A variety of different Comfort Zones are presented. All of them deal with the relationship between filling material and cover, in which knitted structures and materials play a central role in order to create comfort. The elasticity of the knit is challenged when creating volume and emphasizes the idea that comfort is elastic in material/physical way, as well as well in emotions. The use of filling materials gives a new dimension, sensitivity and offers new opportunities. This form exploration discusses the potential of knit to serve as a cover and decorative element, but most importantly the possibility of a textile to create its own filling. By rolling up a knitted tube, volume is built up layer by layer; a torus appears and captures a void in the center of the form, required by the tube, the fundament. Hints of discomfort are given and emphasized by either surface/structure, volume or garments on the body.

This design project places itself in the field of knit, smart textiles and inclusive design. Knitting is a technique that can create interactive objects, for children with autism that may need support to interact with their surroundings. Therefore, this work sets out to support these individuals, using objects that offer different tactile sensations, to provide focus and calmness. To achieve this, the aim is to design inclusive knitted objects that encourage individuals with autism to interact with knitted forms through stimulating textures, vibration, and colours. Through technical research on Shima Seiki, Dubied and Silver Reed, 3D objects with various bindings are developed to create stimulating textures. Sensors and other electronics are also investigated and integrated, to make the textiles smart. Further investigations are made using surveys with an autism community, to accommodate their needs during the design process. The result of this project is three textile objects that provide two kinds of stimulation. Two pieces which react to touch with vibration, and one object with different tactile textures. As well as knowledge about how to knit forms with textures, and how to insert electronics into knitted structures. It is also how people with autism can be helped by using the objects as tools, to facilitate sensory processing or non-verbal communication, in their everyday life.

Les propriétés mécaniques d’un tricot diffèrent drastiquement de celles du fil dont il est constitué. Par exemple, une étoffe tricotée d’un fil inextensible présente une étonnante propension à la déformabilité. À l’instar des systèmes mécaniques où la géométrie joue un rôle prépondérant, tels les origamis, la réponse mécanique d’un tricot va être déterminée par le chemin imposé au fil. Lors du tricotage, le fil est contraint de se courber et de former des points de croisement suivant un motif répétitif, figeant de cette manière sa topologie. Les trois ingrédients sur lesquels repose la réponse mécanique d’un tricot sont l’élasticité du fil, sa topologie et le frottement aux contacts. Une sélection des nombreux phénomènes qui émergent du couplage entre ces ingrédients fait l’objet de cette thèse. Premièrement, l’intérêt a été porté sur l’élasticité du tricot. En se basant sur une expérience de traction d’un tricot-modèle, une théorie, qui vise à décrire cette réponse mécanique, a été construite en tenant compte de la conservation de la topologie, l’énergie de flexion et l’inextensibilité du fil. Dans un second temps, l’accent est mis sur les fluctuations de la réponse mécanique. Ces fluctuations ont pour origine la friction du fil qui empêche sa répartition dans la maille jusqu’à ce qu’un contact glisse brusquement, déclenchant alors une succession de glissements. La mesure de la réponse en force et du champ de déformations montrent que ces évènements suivent une dynamique d’avalanches. Enfin, l’action de la topologie et de la métrique du tricot sur sa forme tridimensionnelle, ainsi que la transition de configuration spontanée de la structure d’un tricot, ont été examinés. / Knits mechanical properties are fundamentally different from those of its constitutive yarn. For instance, a fabric knitted with an inextensible yarn demonstrates a surprising inclination for deformability. Like mechanical systems where geometry plays a preponderant role, such as origami, the mechanical response of knitted fabrics is governed by the pattern imposed on the yarn. In the process of knitting, the yarn is constrained to bend and to cross itself following a periodic pattern, anchoring its topology. The three factors which determine the mechanical response of a knit are the elasticity of the yarn, its topology, and friction between crossing strands. This thesis explores several phenomena that arise from the interplay of these factors. First, we focused on the elasticity of a knit. Working from experimental data, we developed a theory to decipher the mechanical response of model knits under traction, taking into account the unaltered topology, bending energy, and inextensibility of the yarn. Next, we explored fluctuations in the mechanical response of a knit. Those fluctuations originate from yarn-yarn friction, preventing free yarn redistribution in the stitch until a contact slides and triggers propagative slips. Measures of the force response and deformation fields reveal that those events follow an avalanching dynamic, including a power law distribution of their size. Finally, the impact of topology and metric on knit three-dimensional shapes, along with spontaneous configuration transitions in a knit structure, are studied.

Physical interaction with textiles is generally found through the purpose of the textiles; for clothing, or interior use. We engage not just for the textiles, but primarily for it’s function. Within Dynamic Folding Knits, the purpose of the material is purely interaction focused. To encourage and to entice the visitor to play, and thus creating a new focus to the material. One that focuses on the materiality before the function. Described through practical based research, knitted materials have been explored to investigate and encourage the physical interaction between the viewer and textiles. Folding methods have been developed that increase the tactility of the material, and integrate intricate form. Both these qualities have been shown to increase curiosity to interact and explore the textiles due to the materials tactility. Working within three main categories of folding methods; The Strict Fold, The Soft Fold and An Amalgamation of Folds, the results provide a vast range of folding textiles, through strict geometry set into the structure of the material, to the softer accumulation of fabric that builds and forms. All of these are then offered to visitors to interact with through touch and play, to experience the movement, the textures the folds and the forms.

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.

"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.