This work places itself in the field of textile design and jacquard woven textiles. By exploring the relationship between the traditional Swedish bindings simplified overshot and monk’s belt, and computer-generated design tools and digital aesthetics, the primary motive has been to design a woven collection that explores alternative and contemporary expressions of traditional textiles. By challenging traditional properties and their original context, the collection has explored their spatial recognition as experimental decorative textiles. By adapting an experimental design method that forces de-contextualization and manipulation, the outcome of the study is a collection of three woven textiles which all suggest how traditional techniques can be revisited and reworked into contemporary contexts.

This project places itself in the area of Textile Design, relief patterns and weaving. The project drives from an interest of not taking design so seriously, letting it be playful and maybe slightly meaningless, in terms of functionality. This design is not something that is needed, neither a problem-solving design. Rather, the intention is to investigate how the design would be saturated in a context where it would be something unpractical and extra. Extra as something that is not necessary. With the aim of the project is to explore texture and volume by designing tactile relief patterns through the combination of Jacquard weaving and hand painting. The process consists of experimenting in the Jacquard: weaving in undyed yarns to create form through bindings and material. The woven textiles are then painted with a mix of pigment and water to highlight or distort the form of the weave. The outcome of the study is a collection of several pieces, where volume, texture, and tactile patterns are explored. This work contributes to the field of textile design by displaying a possibility to use a hands-on step in the Jaquard process, as well as the appearance of the hand: aquarelle look and a clear hand brush that is not possible using dyed yarns.

"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.

No description available.

This thesis describes a practice-based research project that explores the relationship between textile and fashion systems through whole-garment weaving. In the current state of the textile and fashion industry, these are mostly based on two separate systems where the textile industry merely functions as an invisible backbone of the fashion industry. The structure of the weave, the jacquard patterns, the yarns and colours have the ability to link the textile to the garment, materialising the interdependency of the two. Hybrid forms of dressing is based on a series of experiments related to the components of jacquard weaving, local yarns and weaving constructions in a layering system, to gain an understanding of their relationship in the process of garment creation. This project aims to contribute to creating an equal balance between textile and fashion systems, working in a simultaneous design approach and opening up for discussion on this matter.

Motivated by studies of dress and the importance that it has on identity formation and expression of self, this research tries to answer the question of how can an interactive tool create greater means for self-expression of the dressed body through the design of textiles? The goal of pursuing the question is to ultimately promote a more sustainable fashion culture that relies on the creation of long-lasting products. Employing Research through Design as the main methodology, this research went through a series of sequential design experiments – namely workshops and prototypes – with the ambition of generating knowledge in the context of the design space, and in order to inform the design of the interactive tool proposed by the research question. The main research findings suggest that the direct engagement with the painting of textiles through ruled self-reflection tasks, in collaboration with a machine, provides great means for the creation of long-lasting products – showing, therefore, a fruitful path towards fashion sustainability. In addition to the conception and building of a final artifact, this research resulted in a set of guidelines that aims at advising the creation of other future artifacts.

This is (Not) a Textile is a surface pattern design project made with tools from motion design. The aim is to bring textile design into a new digital context, and explore how crossing these two fields can help to develop a new method of designing dynamically changing print. The process begins with hand sketching using automatic drawing methods inspired by surrealism. Then, the pattern elements are animated and constructed in the Adobe After Effects program using multiple layers of compositions. The result is a collection of animated patterns that each express a unique quality of digital changeability: building pattern layers, shifting light and color, and moving tessellation. In the future, designs like these may be applied to the real world with the help of augmented reality technology. In addition to influencing how design in the textile field can be reformulated with digital processes, this project pushes the boundaries of what textiles are and how they can be communicated and transformed through digital technology.

This degree work is situated in the field of textile design and positions itself specifically in tactility and jacquard weaving. The motive of this work is to connect textile design with the user in a site-specific context for an including designprocess. The aim of this study is to investigate tactility in a site-specific context with playful weaves inspired by nature. The design process had its starting point in tactile and visual patterns in nature and involved hand-drawn sketches translated into woven patterns to spark curiosity and invite to touch. Along the process the produced woven sketches were tested on an audience to understand touch in relation to user but also put into a site-specific context to understand what could be developed in the space. The result of the study is four different weaves with variety in colour and tactility positioned in different parts of the chosen context - a children’s library corner. The collection consists of one floor piece, one wall piece and two interactive, movable pieces. Designing four textiles for different touch in relation to user and a site-specific context contributes to the textile field by containing a longlasting, including designprocess.

As soon as a material is viewed as waste, the value of this resource diminishes, leading to a lack of concern for its preservation. By presenting alternative perspectives on such materials, their beauty and potential can be shown. In WHAT A WASTE, new light is shone on discarded fishing ropes from the Swedish seas. The project focuses on the unique qualities of these discarded materials, showcasing their worth despite being worn out. A material-driven approach is employed, wherein the selected materials’ behaviour guides the creation of shape and form. In a dialogue between maker and material, the different characters of the collection take form through a playful and intuitive process. Weaving is the main technique combined with a construction principle in which the unique properties of the discarded ropes lead to shape, colour and texture discoveries. Contemplating utilising an unconventional material in the loom to highlight innovative visual and tactile characteristics. This project proposes new design methods for reusing discarded materials and how people can value waste again through textile design. Exploring ways of working with the ropes, such as detangling, in combination with other yarns can create new aesthetics for three-dimensional woven forms. Aiming to create woven sculptures of varying scales and shapes in a spatial context through a material-led process.

The problem with which this study is concerned is that of determining the possible differential effects of the alternative training patterns of handcrafted textile design students in universities and polytechnics in Nigeria on the scores in courses for their final-year training as well as the type of first employment that students secure after graduation.