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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

This project places itself in the field of textile design within flat knitting textiles intended as prototypes for interactive textiles with multifunctional purposes and aesthetics. The purpose of the project is to suggest alternative design solutions towards knitted textiles in the field of sportswear that not only acts as a second skin both in terms of appearance and functionality, as well as aesthetic details once the knit interacts with a moving body. The aim of the project, but also offers visual and contrasting functions such as expandability, rigidness and stretch, as well as creating aesthetic details caused by movement of the human body. The design process was conducted in experimental knitting on both industrial and domestic knitting machines, workshops entailing the relation between the knits and the body as well as technically developing the proper bindings to work in unity. Analysis of the knits were made which led to the solely use of these bindings: rib, spacer, links links, ripple and mesh. The outcome of the projects resulted in four knitted textile prototypes, where one of them is designed as a product in the shape of a top, and the others as knitted fabrics each representing two opposing functions. The conclusion drawn in retrospect of this project that by placing opposing bindings parallel, such ripple and links links, it is possible to achieve two opposing functions as well as different visual perception within the same area of a knitted piece.

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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.

Disrupting patterns places itself in the textile design field, more precisely in knitting. The aim is to explore cable knitting in combination with fair isle and intarsia designs with the motivation to disrupt the cable structure. The purpose is to give a bold, powerful expression to the cable, compared to the calm, classic look of the Aran sweaters, and in that way give a new perspective on tradition. The project is made by hand on a hand knitting machine for a knitwear design context. The intention is to bring back the value of the textile by focusing on the craftmanship. It is also made as a comment on fast fashion by disrupting the methods of working in the industry. The result is a knit design collection which displays three methods of working with cables. Traditional cable technique, moving stitches and giant cables. These methods are combined with intarsia and fair isle patterns. The methods can be applied in a knitwear design context, for example on a knitted garment. The focus of Disrupting patterns lies in the craft of knitting and is a comment on industrial fabrication and fast fashion implication on sustainable design. While the sustainable aspect is important, the main result of this project lies in the craft of knitting and to show a new method of working with cables and colour pattern techniques.

Human body temperature is an important indicator of physical performance and condition in terms of comfort, heat or cold stress. The aim of this research was to develop Temperature Sensing Fabric (TSF) for continuous temperature measurement in healthcare applications. The study covers the development and manufacture of TSF by embedding fine metallic wire into the structure of textile material using a commercial computerised knitting machine. The operational principle of TSF is based on the inherent propensity of a metal wire to respond to changes in temperature with variation in its electrical resistance. Over 60 TSF samples were developed with combinations of different sensing elements, two inlay densities and highly textured polyester yarn as the base material. TSF samples were created using either bare or insulated wires with a range of diameters from 50 to 150 μm and metal wires of nickel, copper, tungsten, and nickel coated copper. In order to investigate the Temperature-Resistance (T-R) relationship of TSF samples for calibration purposes, a customised test rig was developed and monitoring software was created in the LabVIEW environment, to record the temperature and resistance signals simultaneously. TSF samples were tested in various thermal environments, under laboratory conditions and in practical wear trials, to analyse the relationship between the temperature and resistance of the sensing fabric and to develop base line specifications such as sensitivity, resistance ratio, precision, nominal resistance, and response time; the influence of external parameters such as humidity and strain were also monitored. The regression uncertainty was found to be less than in ±0.1°C; the repeatability uncertainty was found to be less than ±0.5°C; the manufacturing uncertainty in terms of nominal resistance was found to be ± 2% from its mean. The experimental T-R relationship of TSF was validated by modelling in the thermo-electrical domain in both steady and transient states. A maximum error of 0.2°C was found between the experimental and modelled T-R relationships. TSF samples made with bare wire sensing elements showed slight variations in their resistance during strain tests, however, samples made with insulated sensing elements did not demonstrate any detectable strain-dependent-resistance error. The overall thermal response of TSF was found to be affected by basal fabric thickness and mass; the effect of RH was not found to be significant. TSF samples with higher-resistance sensing elements performed better than lower-resistance types. Furthermore, TSF samples made using insulated wire were more straightforward to manufacture because of their increased tensile strength and exhibited better sensing performance than samples made with bare wire. In all the human body wear trials, under steady-state and dynamic conditions both sensors followed the same trends and exhibited similar movement artifacts. When layers of clothing were worn over the sensors, the difference between the response of the TSF and a high-precision reference temperature were reduced by the improved isothermal conditions near the measurement site.