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Stand Up Weave explores multiple-layer weaving from a sculptural and spatial perspective in combination with non-textile materials as a way of challanging what weaving can be and how it can be developed in the changing textile industry. The aim was to develop three-dimensional fabrics by hand weaving in multiple layers with integrated supporting structures to achieve sculptural textile objects directed towards experimental textile design. The work investigates and develops methods of how to design and produce complete textile objects directly in the loom without industrial machines or finishing processes such as sewing together parts. The result is a collection of three woven objects, each exhibiting different ways of constructing three-dimensional textiles with individual solutions for warp planning, weaving and supporting structures.

Stand Up Weave explores multiple-layer weaving from a sculptural and spatial perspective in combination with non-textile materials as a way of challanging what weaving can be and how it can be developed in the changing textile industry. The aim was to develop three-dimensional fabrics by hand weaving in multiple layers with integrated supporting structures to achieve sculptural textile objects directed towards experimental textile design. The work investigates and develops methods of how to design and produce complete textile objects directly in the loom without industrial machines or finishing processes such as sewing together parts. The result is a collection of three woven objects, each exhibiting different ways of constructing three-dimensional textiles with individual solutions for warp planning, weaving and supporting structures.

This project starts starts out in wanting to somehow investigate the public space. Beginning in the questions of: What kind of interventions can we achieve in the public space? What is allowed, what is encouraged - what is not? How easy or how difficult is it to achieve building something within the folds of the public space of our city? On the scale of the intervention itself, we were interested in what things could be investigated through design and materiality: How can we, through this design, encapsulate and measure softer, hard-to-grasp elements such as time, changes and interactions? How can we design a structure that will be responsive to the traces and manifestations of these things? What materials and organization of these can embody them?

This project starts starts out in wanting to somehow investigate the public space. Beginning in the questions of: What kind of interventions can we achieve in the public space? What is allowed, what is encouraged - what is not? How easy or how difficult is it to achieve building something within the folds of the public space of our city? On the scale of the intervention itself, we were interested in what things could be investigated through design and materiality: How can we, through this design, encapsulate and measure softer, hard-to-grasp elements such as time, changes and interactions? How can we design a structure that will be responsive to the traces and manifestations of these things? What materials and organization of these can embody them?

This work positions itself in the intersection between art, fashion and crafts. The work aims to challenge traditional ways of making clothes by investigating the relationship between material, form and body through a three dimensional hand weaving technique with focus on up-cycling. The design examples were conducted through a series of experiments where different objects were investigated as alternative weaving looms. The study resulted in five design examples that argue the importance to maintain and develop craft techniques and to give suggestions of how to address the environmental problems within the industry.

[ES] A través de la integración del tejido y el bordado con la fotografía de archivo familiar, El tejido en la memoria narra las biografías de mis dos abuelas, explorando a través de ellas la identidad propia de la mujer del siglo XX. Utilizando una riqueza de recursos expresivos diferentes se pretende crear una antítesis visual que refleja las diferencias entre dos estilos de vida, opuestos por su contexto socioeconómico y geográfico, pero destacando a la vez la importancia de ambos. Mediante la realización de este proyecto se pretende reflexionar acerca del espacio íntimo de la mujer, su papel en la sociedad y la relación que ha tenido con la costura a lo largo de la historia. Tomando como punto de partida fotografías, recuerdos y enseñanzas heredadas, el trabajo se articula como una instalación que relata la vida de las dos mujeres desde su nacimiento hasta el casamiento., [EN] Through the integration of weaving and embroidery with family archive photography, The weave in memory, narrates the biographies of my two grandmothers, exploring through them the identity of the woman of the 20th century. Using a wealth of different expressive resources, the aim is to create a visual antithesis that reflects the differences between two lifestyles, opposed by their socioeconomic and geographical context, but at the same time highlighting the importance of both. Through the realization of this project is intended to reflect on the intimate space of women, their role in society and the relationship they have had with sewing throughout history. Taking as starting point photographs, memories and inherited teachings, the work is articulated as an installation that chronicles the lives of the two women from birth to marriage.

[ES] A través de la integración del tejido y el bordado con la fotografía de archivo familiar, El tejido en la memoria narra las biografías de mis dos abuelas, explorando a través de ellas la identidad propia de la mujer del siglo XX. Utilizando una riqueza de recursos expresivos diferentes se pretende crear una antítesis visual que refleja las diferencias entre dos estilos de vida, opuestos por su contexto socioeconómico y geográfico, pero destacando a la vez la importancia de ambos. Mediante la realización de este proyecto se pretende reflexionar acerca del espacio íntimo de la mujer, su papel en la sociedad y la relación que ha tenido con la costura a lo largo de la historia. Tomando como punto de partida fotografías, recuerdos y enseñanzas heredadas, el trabajo se articula como una instalación que relata la vida de las dos mujeres desde su nacimiento hasta el casamiento., [EN] Through the integration of weaving and embroidery with family archive photography, The weave in memory, narrates the biographies of my two grandmothers, exploring through them the identity of the woman of the 20th century. Using a wealth of different expressive resources, the aim is to create a visual antithesis that reflects the differences between two lifestyles, opposed by their socioeconomic and geographical context, but at the same time highlighting the importance of both. Through the realization of this project is intended to reflect on the intimate space of women, their role in society and the relationship they have had with sewing throughout history. Taking as starting point photographs, memories and inherited teachings, the work is articulated as an installation that chronicles the lives of the two women from birth to marriage.

[ES] A través de la integración del tejido y el bordado con la fotografía de archivo familiar, El tejido en la memoria narra las biografías de mis dos abuelas, explorando a través de ellas la identidad propia de la mujer del siglo XX. Utilizando una riqueza de recursos expresivos diferentes se pretende crear una antítesis visual que refleja las diferencias entre dos estilos de vida, opuestos por su contexto socioeconómico y geográfico, pero destacando a la vez la importancia de ambos. Mediante la realización de este proyecto se pretende reflexionar acerca del espacio íntimo de la mujer, su papel en la sociedad y la relación que ha tenido con la costura a lo largo de la historia. Tomando como punto de partida fotografías, recuerdos y enseñanzas heredadas, el trabajo se articula como una instalación que relata la vida de las dos mujeres desde su nacimiento hasta el casamiento., [EN] Through the integration of weaving and embroidery with family archive photography, The weave in memory, narrates the biographies of my two grandmothers, exploring through them the identity of the woman of the 20th century. Using a wealth of different expressive resources, the aim is to create a visual antithesis that reflects the differences between two lifestyles, opposed by their socioeconomic and geographical context, but at the same time highlighting the importance of both. Through the realization of this project is intended to reflect on the intimate space of women, their role in society and the relationship they have had with sewing throughout history. Taking as starting point photographs, memories and inherited teachings, the work is articulated as an installation that chronicles the lives of the two women from birth to marriage.

This work positions itself in the intersection between art, fashion and crafts. The work aims to challenge traditional ways of making clothes by investigating the relationship between material, form and body through a three dimensional hand weaving technique with focus on up-cycling. The design examples were conducted through a series of experiments where different objects were investigated as alternative weaving looms. The study resulted in five design examples that argue the importance to maintain and develop craft techniques and to give suggestions of how to address the environmental problems within the industry.

From yarns to fibers to fabric, a finished garment goes through various challenges to meet our requirements. One of the major factors that affect a woven fabric is ‘Abrasion Resistance’. Abrasion is basically the mechanical deterioration of fabric components by rubbing them  against another surface. It ultimately results in the loss of the fabrics’ performance and its appearance. This paper shall deal with the various aspects of a woven fabric with respect to abrasion resistance, its tests and various experiments and the effect it has on the weave of the fabric.

Inclusion is ecosystem. We should learn from empowerment. A human being who comes into the world with a disability, or who, growing up, seems to have Special Needs, must be able to develop his own project. That he has to lean on the project of the adults who live next to him. We all need a project. The migrant above all wants to look for a better life. Who brings a problem can also bring a resource. Design together. Discover the passion of an adult human being. Intertwining one's passion, the bonds of belonging and the data of reality.

The article in its first part aims to give an account of the introduction of the term “deconstruction” in the field of fashion and studies dedicated to it. Since “deconstruction” has spread like a virus in North American culture since the 1980s, it is intended to verify the congruence of this spread that has reached the fashion world through the success of architectural deconstructivism. Beyond various generic and superficial references, a certain interest in the work of fashion designer Martin Margela has been recognized. Starting from this general framework, an attempt was made to show what themes and resources “deconstruction” can offer to fashion studies, in particular through the reading of a text by Derrida dedicated to the figure of the “veil” in the tradition of Western culture.

This work places itself in the field of woven textile design and the lenticular effect in a spatial context. The lenticular effect refers to a ribbed surface structure which changes appearance depending on from which angle it is viewed. The aim is to combine woven pleats with colours and patterns to create a lenticular effect. Bindings, patterns and colours have been investigated in both handweaving and jacquard weaving. Three suggestions for a woven, pleated, shifting textile have been developed. The three tracks are a colour shift and gradient with a surface structure, a pattern shift taking place across all sides of a pleat and a jacquard pattern hidden between the pleats. By creating a textile which shifts as it is viewed from different angles and distances, the motive is to encourage movement around the woven piece, broaden the possible uses of woven textiles and invite the viewer to take a closer look at the woven structure.

This master thesis studies the recycling prospects of textiles. The textile industry contributes negatively to the global environmentthrough the release of greenhouse gases and consumption of resources. In order to achieve a circular textile industry, textiles must be recyclable by both chemical and mechanical means. Here, the focus is on mechanical extraction of staple fibres, particularly cotton, for reentry into yarn production. Experiments show that used, but undamaged, cotton sateen and cotton twill responds differently to abrasion with stochastic surfaces. Previous studies on the conventional shredding processes have shown positive impact from lubricants on extracted fibre lengths, by reducing inter-fibre friction. In the present study on abrasion, variables such as alignment of the weave pattern, lubrication and load are shown to have little to no impact on extracted fibre length, but notable effects on overall fibre quality. These analyses are supported by manual length assessment, electron micrographs and tensile tests using load cells. Furthermore, simple tests and observations on structured diamond surfaces constructed through chemical vapor deposition are promising for mechanical fibre release directly from a woven fabric. Suggestions are made on continued research in this field.

From yarns to fibers to fabric, a finished garment goes through various challenges to meet our requirements. One of the major factors that affect a woven fabric is ‘Abrasion Resistance’. Abrasion is basically the mechanical deterioration of fabric components by rubbing them  against another surface. It ultimately results in the loss of the fabrics’ performance and its appearance. This paper shall deal with the various aspects of a woven fabric with respect to abrasion resistance, its tests and various experiments and the effect it has on the weave of the fabric.

From yarns to fibers to fabric, a finished garment goes through various challenges to meet our requirements. One of the major factors that affect a woven fabric is ‘Abrasion Resistance’. Abrasion is basically the mechanical deterioration of fabric components by rubbing them  against another surface. It ultimately results in the loss of the fabrics’ performance and its appearance. This paper shall deal with the various aspects of a woven fabric with respect to abrasion resistance, its tests and various experiments and the effect it has on the weave of the fabric.

Objectives: This was a 2-year follow-up study of a primary care-based counselling intervention (weave) for women experiencing intimate partner violence (IPV). We aimed to assess whether differences in depression found at 12 months (lower depression for intervention than control participants) would be sustained at 24 months and differences in quality in life, general mental and physical health and IPV would emerge. Design: Cluster randomised controlled trial. Researchers blinded to allocation. Unit of randomisation: family doctors. Setting: Fifty-two primary care clinics, Victoria, Australia. Participants: Baseline: 272 English-speaking, female patients (intervention n=137, doctors=35; control n=135, doctors=37), who screened positive for fear of partner in past 12 months. Twenty-four-month response rates: intervention 59% (81/137), control 63% (85/135). Interventions: Intervention doctors received training to deliver brief, woman-centred counselling. Intervention patients were invited to receive this counselling (uptake rate: 49%). Control doctors received standard IPV information; delivered usual care. Primary and secondary outcome measures: Twenty-four months primary outcomes: WHO Quality of Life-Bref dimensions, Short-Form Health Survey (SF-12) mental health. Secondary outcomes: SF-12 physical health and caseness for depression and anxiety (Hospital Anxiety Depression Scale), post-traumatic stress disorder (Check List-Civilian), IPV (Composite Abuse Scale), physical symptoms (≥6 in last month). Data collected through postal survey. Mixed-effects regressions adjusted for location (rural/urban) and clustering.

This master thesis studies the recycling prospects of textiles. The textile industry contributes negatively to the global environmentthrough the release of greenhouse gases and consumption of resources. In order to achieve a circular textile industry, textiles must be recyclable by both chemical and mechanical means. Here, the focus is on mechanical extraction of staple fibres, particularly cotton, for reentry into yarn production. Experiments show that used, but undamaged, cotton sateen and cotton twill responds differently to abrasion with stochastic surfaces. Previous studies on the conventional shredding processes have shown positive impact from lubricants on extracted fibre lengths, by reducing inter-fibre friction. In the present study on abrasion, variables such as alignment of the weave pattern, lubrication and load are shown to have little to no impact on extracted fibre length, but notable effects on overall fibre quality. These analyses are supported by manual length assessment, electron micrographs and tensile tests using load cells. Furthermore, simple tests and observations on structured diamond surfaces constructed through chemical vapor deposition are promising for mechanical fibre release directly from a woven fabric. Suggestions are made on continued research in this field.

This work places itself in the field of woven textile design and the lenticular effect in a spatial context. The lenticular effect refers to a ribbed surface structure which changes appearance depending on from which angle it is viewed. The aim is to combine woven pleats with colours and patterns to create a lenticular effect. Bindings, patterns and colours have been investigated in both handweaving and jacquard weaving. Three suggestions for a woven, pleated, shifting textile have been developed. The three tracks are a colour shift and gradient with a surface structure, a pattern shift taking place across all sides of a pleat and a jacquard pattern hidden between the pleats. By creating a textile which shifts as it is viewed from different angles and distances, the motive is to encourage movement around the woven piece, broaden the possible uses of woven textiles and invite the viewer to take a closer look at the woven structure.

This degree work relates to the textile design field where the aim is to design jacquard woven patterns for smocking techniques, in order to create three-dimensional pattern surfaces for a spatial textile design context. Smocking is a traditional embroidery technique where the stitches manipulate the fabric and create decorative areas. Jacquard woven patterns work as templates for the smocking stitches so the pattern shapes the fabric. Bindings and yarn colour combinations were explored in an industrial jacquard machine and tried out with different smocking variations made by hand. Experiments with scale and materials have been done. The result consists of three woven textile objects smocked with two variants of lozenge smocking. The work demonstrates examples of smocked three-dimensional surfaces in various scales and shapes, which can be further developed into interior products, for instance room dividers or sound absorbers. The primary motive was to update the traditional smocking technique with patterns and colours, with the intension to develop a contemporary expression. The smocking technique acts as a method to manipulate patterns and can work as a sketching tool in pattern design. The purpose is to inspire alternative ways of sketching with patterns.

This degree work relates to the textile design field where the aim is to design jacquard woven patterns for smocking techniques, in order to create three-dimensional pattern surfaces for a spatial textile design context. Smocking is a traditional embroidery technique where the stitches manipulate the fabric and create decorative areas. Jacquard woven patterns work as templates for the smocking stitches so the pattern shapes the fabric. Bindings and yarn colour combinations were explored in an industrial jacquard machine and tried out with different smocking variations made by hand. Experiments with scale and materials have been done. The result consists of three woven textile objects smocked with two variants of lozenge smocking. The work demonstrates examples of smocked three-dimensional surfaces in various scales and shapes, which can be further developed into interior products, for instance room dividers or sound absorbers. The primary motive was to update the traditional smocking technique with patterns and colours, with the intension to develop a contemporary expression. The smocking technique acts as a method to manipulate patterns and can work as a sketching tool in pattern design. The purpose is to inspire alternative ways of sketching with patterns.

A weave of collagen and elastin fibers supports every tissue in the body, with tissue-, age- and health status-specific spatial and temporal fibre distributions. The newly presented concept of biotextilogy refers to the creation of textiles that emulate nature's own. Microscopy Aided Design and ManufacturE (MADAME) describes an advanced manufacturing method by which spatial distributions of tissue structures such as porosity, structural protein fibers, and permeability characteristics can be engineered and manufactured using biotextilogy alone or in combination with additive manufacturing. Periosteum, a hyperelastic soft tissue sheath covering every bone in the body, exhibits stimuli-responsive or smart properties that would confer great benefit if integrated into medical textiles. These benefits include harnessing movement or displacements to deliver pressure gradients, e.g. to oedematous limbs (actuator function) or changing of its own form when strained by neighboring tissues (sensor function).This thesis also applies biotextilogy and MADAME to test textiles created to mimic the natural patterns of collagen and elastin in periosteum. First the mechanical and strain properties of compression sleeves were characterized. The mechanical testing results from this study showed a lack of gradients in textile samples taken along the length of the sleeve, providing a first step to develop more efficacious compression sleeves. MADAME was then applied, first using microscopy to study elastin and collagen in periosteum, then implementing a recursive approach to better incorporate gradients into textile design using elastic and stiffer fibers mimicking elastin and collagen. Textiles demonstrated spatially tuneable mechanical gradients and strain distributions, validating the concept. Once feasibility had been shown, a set of prototype textiles was constructed using different compositions and combinations of sutures as elastin and collagen analogues. Textiles were tested for b

extilindustrin måste ständigt söka nya alternativ inom beläggningar och laminering för att minska den skadliga miljöpåverkan. En fråga som uppkommit är om beläggningar används i större utsträckning än vad som egentligen behövs. Denna kandidatuppsats har skrivits i samarbete med Artex AB och kretsar kring ett befintligt solskydd och solens ljusspektrum som består av strålar mellan 320–2500 nm. Material som bestrålas kan antingen absorbera, reflektera eller transmittera dessa strålar. Strålarnas alternativa vägar adderat med varandra blir alltid hundra procent, vilket innebär att genom att öka den reflekterande förmågan minskas de andra två tillstånden. I denna studie granskas den totala reflekterande förmågan av ljusspektrumet hos textila material som i sin tur beror på många olika faktorer. Det undersöks även om det är ett steg i fel riktning att använda sig av beläggningar för att nå ett bättre högreflekterande material. Detta även för att minska miljöbelastningen. Eftersom beläggningar generellt förstyvar material är detta kontraproduktivt när man vill bibehålla följsamheten hos en tygvara, vilket är avgörande för denna typ av produkt. Skrynkelheten går nämligen hand i hand med tygvarans då stumma yta. Detta projekt fokuserar på solskydd som ska användas inifrån en bil. Syftet med studien var alltså att undersöka om en obelagd vit och tät tygvara kan uppnå tillräcklig funktion för ett solskydd innanför en bil. I experimenten användes fyra olika tygvaror med olika strukturer i bindningarna för att göra en så omfattande studie som möjligt. Dessa fyra var: en satin, en varptrikå och två stycken tvåskaft, varav den ena glesare och mer matt än den andra. Respektive tygvara beströks med ett färgpigment för att analysera om kombinationen mellan reflektion och elastisk potential var möjlig. Tester som genomförts i denna undersökning var: bestämning av färghärdighet, total reflektion, ljustransmittansmätning och ett egenkomponerat skrynkeltest. Vidare granskades dess skill, The textile industry must always find ways to reinvent itself and look for alternative options, as the coating and lamination industries are vital for a better environment. A question that needs answering is if coating on textiles are used more than needed. This bachelor thesis is written in cooperation with Artex AB and revolves around the suns light spectrum that consists of rays of 320 to 2500 nm. Materials that irradiate can either absorb, reflect or transmit these wavelengths. The rays alternative routes added with each other is always one hundred percent, which means that through increasing the reflecting capacity the other two will decrease. The most interesting part of this study, was to examine the ability of the light spectrum for material, and take in to consideration it’s construction, structure and color. Textile materials are often coated to add qualities and, in this case, to increase reflecting quality. This study is trying to prove, that it's a step in the wrong direction when it comes to the functionality of a sunshade product and for a reduced impact on the environment. As coating generally stiffens materials it’s contuerproductive with regards to keeping the resilience for the fabric, which is decisive for this type of product. The wrinkles go hand in hand with the fabrics coated surface. Since this project focuses on an existing sunshade product that will be used inside of a car, the heat radiation and the undulations within a certain wavelength that requires reflection will be focused on. The purpose with the study was to examine if an uncoated white fabric can achieve the same function in a sunshade as the current fabric in the product. In the experiments, four fabrics with different structures were used to complete such a comprehensive study as possible. These four fabrics were: one satin, one warp knitted and two plain weave, where one of them was more faint and sparse than the other. Each fabric was coated with a color pigment to analyze th

This thesis investigates whole-garment weaving as an experimental design and construction method. The majority of the current development and research within the field focuses on production efficiency and the development of weaving techniques. Here, the intention is to connect form, material and making. The aim is to find ways to deconstruct the process of garment making in order to create new knowledge through craft. Within whole-garment weaving, many design processes are dealt with simultaneously, through direct experimentation on the loom. In order to maintain the integrity of the weaving, interferences such as cutting and sewing is limited. The basics of the practical method is that the cloth is woven as a double weave on the loom. For the practical work, the first objective was to find basic parameters for the project, freely experimenting with weave constructions and bindings. As the process developed, more aspects of garment construction were included in the design process. The combination of bindings, floats and elastic is used to create expressive textile as well as dress, so that the textile surfaces influences the silhouette or the drape. The result shows the expressive potential of whole-garment weaving through a series of nine examples, each showcasing different aspects of the method. The focus is on showcasing experimental approaches to simultaneous fashion/textile design interaction.

extilindustrin måste ständigt söka nya alternativ inom beläggningar och laminering för att minska den skadliga miljöpåverkan. En fråga som uppkommit är om beläggningar används i större utsträckning än vad som egentligen behövs. Denna kandidatuppsats har skrivits i samarbete med Artex AB och kretsar kring ett befintligt solskydd och solens ljusspektrum som består av strålar mellan 320–2500 nm. Material som bestrålas kan antingen absorbera, reflektera eller transmittera dessa strålar. Strålarnas alternativa vägar adderat med varandra blir alltid hundra procent, vilket innebär att genom att öka den reflekterande förmågan minskas de andra två tillstånden. I denna studie granskas den totala reflekterande förmågan av ljusspektrumet hos textila material som i sin tur beror på många olika faktorer. Det undersöks även om det är ett steg i fel riktning att använda sig av beläggningar för att nå ett bättre högreflekterande material. Detta även för att minska miljöbelastningen. Eftersom beläggningar generellt förstyvar material är detta kontraproduktivt när man vill bibehålla följsamheten hos en tygvara, vilket är avgörande för denna typ av produkt. Skrynkelheten går nämligen hand i hand med tygvarans då stumma yta. Detta projekt fokuserar på solskydd som ska användas inifrån en bil. Syftet med studien var alltså att undersöka om en obelagd vit och tät tygvara kan uppnå tillräcklig funktion för ett solskydd innanför en bil. I experimenten användes fyra olika tygvaror med olika strukturer i bindningarna för att göra en så omfattande studie som möjligt. Dessa fyra var: en satin, en varptrikå och två stycken tvåskaft, varav den ena glesare och mer matt än den andra. Respektive tygvara beströks med ett färgpigment för att analysera om kombinationen mellan reflektion och elastisk potential var möjlig. Tester som genomförts i denna undersökning var: bestämning av färghärdighet, total reflektion, ljustransmittansmätning och ett egenkomponerat skrynkeltest. Vidare granskades dess skill, The textile industry must always find ways to reinvent itself and look for alternative options, as the coating and lamination industries are vital for a better environment. A question that needs answering is if coating on textiles are used more than needed. This bachelor thesis is written in cooperation with Artex AB and revolves around the suns light spectrum that consists of rays of 320 to 2500 nm. Materials that irradiate can either absorb, reflect or transmit these wavelengths. The rays alternative routes added with each other is always one hundred percent, which means that through increasing the reflecting capacity the other two will decrease. The most interesting part of this study, was to examine the ability of the light spectrum for material, and take in to consideration it’s construction, structure and color. Textile materials are often coated to add qualities and, in this case, to increase reflecting quality. This study is trying to prove, that it's a step in the wrong direction when it comes to the functionality of a sunshade product and for a reduced impact on the environment. As coating generally stiffens materials it’s contuerproductive with regards to keeping the resilience for the fabric, which is decisive for this type of product. The wrinkles go hand in hand with the fabrics coated surface. Since this project focuses on an existing sunshade product that will be used inside of a car, the heat radiation and the undulations within a certain wavelength that requires reflection will be focused on. The purpose with the study was to examine if an uncoated white fabric can achieve the same function in a sunshade as the current fabric in the product. In the experiments, four fabrics with different structures were used to complete such a comprehensive study as possible. These four fabrics were: one satin, one warp knitted and two plain weave, where one of them was more faint and sparse than the other. Each fabric was coated with a color pigment to analyze th

This thesis investigates whole-garment weaving as an experimental design and construction method. The majority of the current development and research within the field focuses on production efficiency and the development of weaving techniques. Here, the intention is to connect form, material and making. The aim is to find ways to deconstruct the process of garment making in order to create new knowledge through craft. Within whole-garment weaving, many design processes are dealt with simultaneously, through direct experimentation on the loom. In order to maintain the integrity of the weaving, interferences such as cutting and sewing is limited. The basics of the practical method is that the cloth is woven as a double weave on the loom. For the practical work, the first objective was to find basic parameters for the project, freely experimenting with weave constructions and bindings. As the process developed, more aspects of garment construction were included in the design process. The combination of bindings, floats and elastic is used to create expressive textile as well as dress, so that the textile surfaces influences the silhouette or the drape. The result shows the expressive potential of whole-garment weaving through a series of nine examples, each showcasing different aspects of the method. The focus is on showcasing experimental approaches to simultaneous fashion/textile design interaction.

En förväntad ökning av jordens befolkning ställer den redan ökande fiberkonsumtionen på sin spets. Bomull är en av de mest frekvent använda textilfibrerna men dess vatten- och kemikalieanvändning i framställningsprocessen har lett till förödande konsekvenser för människa och miljö. Flera alternativa, hållbara fibrer behöver därmed introduceras på marknaden. Garn av papper från råvaran abacá har länge använts till textila ändamål till följd av dess goda mekaniska egenskaper. På senare år har intresset för fibern ökat främst på grund av dess miljömässiga fördelar i jämförelse med bomull. Garn av papper är dock styvt och känns strävt mot huden. För att vidga pappersgarnets användningsområden måste därför dess taktila egenskaper förbättras genom någon typ av behandling. Textilproduktion är kemikaliekrävande och flertalet av kemikalierna som används är miljö- och hälsofarliga. Det är därför av intresse att hitta en mekanisk metod för mjukgöring snarare än en kemisk. En sådan mjukgöring har därav utvecklats och undersökts inom projektets ramar. Mjukgöringen är en smärglingsbehandling i garnform där garnet leds genom en bladspännare utrustad med två sandpapper som smärgeldukar. Behandlingen ämnar öka antalet utstickande fiberändar och på så vis efterlikna känslan av ett stapelfibergarn. Genom att garnet behandlas redan i garnstadiet kan det sedan användas till valfri textil konstruktionsteknik. För att undersöka effekten av smärglingsbehandlingen har studien delats in i två delar. Den ena delen undersöker två klassiska denimvävar av 100 % papper där väftgarnet i den ena väven har smärglats en gång medan väftgarnet i den andra är obehandlat. Kawabata Evaluation System (KES) har använts för att objektivt analysera vävarnas taktila egenskaper, alltså hur de känns vid beröring. För att undersöka hur vävens ytstruktur förändrats till följd av behandlingen har provkropparna fotograferats i svepelektronmikroskop (SEM) och ljusmikroskop. Studiens andra del undersöker effekten av u, An expected population increase and rising consumption of textile fibres creates a demand for both new materials and processes. Cotton is one of the most frequently used fibres but its use is resource intensive both in terms of water and chemical agents. To meet these demands a range of alternative, sustainable fibres need to be developed and introduced into the market. Due to its good mechanical properties paper yarns produced from the abacá plant have long been used in textile applications. In recent years it has also garnered increased interest as a result of its environmental benefits in comparison to cotton. However, paper yarns tend to be stiff and feel coarse in contact with skin. In order for paper yarns to have larger fields of use its tactile qualities must therefore be improved. The production of textiles is generally reliant on the use of chemicals that in varying degree pose threats both to human health and the environment as a whole. It would therefore be beneficial to develop a method for the softening of paper yarns that is based on a mechanical approach, rather than a chemical one. In this project a mechanical method of softening paper yarns has been developed and tested. The softening process is an altered approach to conventional emery grinding and is performed on yarn rather than fabric. The yarn is guided through a leaf tensioner fitted with two sand papers with the purpose to increase the number of protruding fibre ends, thereby reproducing the feel of staple fibre yarns. In order to investigate the effects of the emery grinding two classical denim weaves were produced from 100 % paper yarn. The weft yarn in one of the weaves was emery ground once while the other was left untreated. Kawabata Evaluation System (KES) was used to objectively analyze the tactile qualities of the differently treated weaves. In addition to KES-tests Scanning Electron Microscopy and light microscopy was utilized for a visual analysis. Since it would also be of interes

En förväntad ökning av jordens befolkning ställer den redan ökande fiberkonsumtionen på sin spets. Bomull är en av de mest frekvent använda textilfibrerna men dess vatten- och kemikalieanvändning i framställningsprocessen har lett till förödande konsekvenser för människa och miljö. Flera alternativa, hållbara fibrer behöver därmed introduceras på marknaden. Garn av papper från råvaran abacá har länge använts till textila ändamål till följd av dess goda mekaniska egenskaper. På senare år har intresset för fibern ökat främst på grund av dess miljömässiga fördelar i jämförelse med bomull. Garn av papper är dock styvt och känns strävt mot huden. För att vidga pappersgarnets användningsområden måste därför dess taktila egenskaper förbättras genom någon typ av behandling. Textilproduktion är kemikaliekrävande och flertalet av kemikalierna som används är miljö- och hälsofarliga. Det är därför av intresse att hitta en mekanisk metod för mjukgöring snarare än en kemisk. En sådan mjukgöring har därav utvecklats och undersökts inom projektets ramar. Mjukgöringen är en smärglingsbehandling i garnform där garnet leds genom en bladspännare utrustad med två sandpapper som smärgeldukar. Behandlingen ämnar öka antalet utstickande fiberändar och på så vis efterlikna känslan av ett stapelfibergarn. Genom att garnet behandlas redan i garnstadiet kan det sedan användas till valfri textil konstruktionsteknik. För att undersöka effekten av smärglingsbehandlingen har studien delats in i två delar. Den ena delen undersöker två klassiska denimvävar av 100 % papper där väftgarnet i den ena väven har smärglats en gång medan väftgarnet i den andra är obehandlat. Kawabata Evaluation System (KES) har använts för att objektivt analysera vävarnas taktila egenskaper, alltså hur de känns vid beröring. För att undersöka hur vävens ytstruktur förändrats till följd av behandlingen har provkropparna fotograferats i svepelektronmikroskop (SEM) och ljusmikroskop. Studiens andra del undersöker effekten av u, An expected population increase and rising consumption of textile fibres creates a demand for both new materials and processes. Cotton is one of the most frequently used fibres but its use is resource intensive both in terms of water and chemical agents. To meet these demands a range of alternative, sustainable fibres need to be developed and introduced into the market. Due to its good mechanical properties paper yarns produced from the abacá plant have long been used in textile applications. In recent years it has also garnered increased interest as a result of its environmental benefits in comparison to cotton. However, paper yarns tend to be stiff and feel coarse in contact with skin. In order for paper yarns to have larger fields of use its tactile qualities must therefore be improved. The production of textiles is generally reliant on the use of chemicals that in varying degree pose threats both to human health and the environment as a whole. It would therefore be beneficial to develop a method for the softening of paper yarns that is based on a mechanical approach, rather than a chemical one. In this project a mechanical method of softening paper yarns has been developed and tested. The softening process is an altered approach to conventional emery grinding and is performed on yarn rather than fabric. The yarn is guided through a leaf tensioner fitted with two sand papers with the purpose to increase the number of protruding fibre ends, thereby reproducing the feel of staple fibre yarns. In order to investigate the effects of the emery grinding two classical denim weaves were produced from 100 % paper yarn. The weft yarn in one of the weaves was emery ground once while the other was left untreated. Kawabata Evaluation System (KES) was used to objectively analyze the tactile qualities of the differently treated weaves. In addition to KES-tests Scanning Electron Microscopy and light microscopy was utilized for a visual analysis. Since it would also be of interes

[EN] The concept of ‘variation’ described by Josef Albers for the development of his educational methodology and extended in his reference work Interaction of color, shows a ligature to the construction process of Anni Albers’ textile reticle. It is a rigid support where it turns out physically impossible to mix colours. It is for this reason that Anni Albers research on weaving color is realized from highly stimulant resources, [ES] El concepto de ‘variación’ descrito por Josef Albers para el desarrollo de su metodología docente, y ampliado en su obra de referencia Interacción del color, se muestra ligado al proceso de construcción compositivo de la retícula textil de Anni Albers. Trabaja en un soporte rígido donde resulta físicamente imposible mezclar colores. Es por esta razón que la investigación en cuanto al color en el tejido que realiza Anni Albers utiliza recursos altamente estimulantes

[EN] The concept of ‘variation’ described by Josef Albers for the development of his educational methodology and extended in his reference work Interaction of color, shows a ligature to the construction process of Anni Albers’ textile reticle. It is a rigid support where it turns out physically impossible to mix colours. It is for this reason that Anni Albers research on weaving color is realized from highly stimulant resources, [ES] El concepto de ‘variación’ descrito por Josef Albers para el desarrollo de su metodología docente, y ampliado en su obra de referencia Interacción del color, se muestra ligado al proceso de construcción compositivo de la retícula textil de Anni Albers. Trabaja en un soporte rígido donde resulta físicamente imposible mezclar colores. Es por esta razón que la investigación en cuanto al color en el tejido que realiza Anni Albers utiliza recursos altamente estimulantes

[EN] The concept of ‘variation’ described by Josef Albers for the development of his educational methodology and extended in his reference work Interaction of color, shows a ligature to the construction process of Anni Albers’ textile reticle. It is a rigid support where it turns out physically impossible to mix colours. It is for this reason that Anni Albers research on weaving color is realized from highly stimulant resources, [ES] El concepto de ‘variación’ descrito por Josef Albers para el desarrollo de su metodología docente, y ampliado en su obra de referencia Interacción del color, se muestra ligado al proceso de construcción compositivo de la retícula textil de Anni Albers. Trabaja en un soporte rígido donde resulta físicamente imposible mezclar colores. Es por esta razón que la investigación en cuanto al color en el tejido que realiza Anni Albers utiliza recursos altamente estimulantes

[EN] The concept of ‘variation’ described by Josef Albers for the development of his educational methodology and extended in his reference work Interaction of color, shows a ligature to the construction process of Anni Albers’ textile reticle. It is a rigid support where it turns out physically impossible to mix colours. It is for this reason that Anni Albers research on weaving color is realized from highly stimulant resources, [ES] El concepto de ‘variación’ descrito por Josef Albers para el desarrollo de su metodología docente, y ampliado en su obra de referencia Interacción del color, se muestra ligado al proceso de construcción compositivo de la retícula textil de Anni Albers. Trabaja en un soporte rígido donde resulta físicamente imposible mezclar colores. Es por esta razón que la investigación en cuanto al color en el tejido que realiza Anni Albers utiliza recursos altamente estimulantes

[EN] The concept of ‘variation’ described by Josef Albers for the development of his educational methodology and extended in his reference work Interaction of color, shows a ligature to the construction process of Anni Albers’ textile reticle. It is a rigid support where it turns out physically impossible to mix colours. It is for this reason that Anni Albers research on weaving color is realized from highly stimulant resources, [ES] El concepto de ‘variación’ descrito por Josef Albers para el desarrollo de su metodología docente, y ampliado en su obra de referencia Interacción del color, se muestra ligado al proceso de construcción compositivo de la retícula textil de Anni Albers. Trabaja en un soporte rígido donde resulta físicamente imposible mezclar colores. Es por esta razón que la investigación en cuanto al color en el tejido que realiza Anni Albers utiliza recursos altamente estimulantes

[EN] The concept of ‘variation’ described by Josef Albers for the development of his educational methodology and extended in his reference work Interaction of color, shows a ligature to the construction process of Anni Albers’ textile reticle. It is a rigid support where it turns out physically impossible to mix colours. It is for this reason that Anni Albers research on weaving color is realized from highly stimulant resources, [ES] El concepto de ‘variación’ descrito por Josef Albers para el desarrollo de su metodología docente, y ampliado en su obra de referencia Interacción del color, se muestra ligado al proceso de construcción compositivo de la retícula textil de Anni Albers. Trabaja en un soporte rígido donde resulta físicamente imposible mezclar colores. Es por esta razón que la investigación en cuanto al color en el tejido que realiza Anni Albers utiliza recursos altamente estimulantes

This text is dealing with the intersection of three main elements: abstraction, geometrical form and distortion. Together these three paths forms garments around and in relation to the body. Throughout the project body is reduced into rectangular planes and cylinders. To reduce body into geometrical shapes can be explained as a method or a system through which body is approach as a neutral form. Because body is the source for abstraction, this approach can be applied to any part of the body and repeated in various compositions as it will always relate to a body form in some ways. The project also focuses on how to build holistic compositions through hues. Geometrically reduced body shapes are arranged through three dimensional compositions in which relationships between dominant, subdominant and subordinate forms are specifically in focus. Garments are embodied through weaving, Dominant and subdominant forms are investigated through distortion as a result of leaving warp and weft threads unattached in certain areas in the woven material. The technique expresses both organic and geometric in the material itself. In combination with colour blocks and panels and cylinders as forms, the technique was able to be translated into wearable forms. The project was developed as a dialogue between intuitive search and an intelligent reflective approach to outcomes. Because the projects put strong focus on subconscious notion of form emotions and senses plays an important role as guidance throughout the project. Findings are presented in collection of ten outfits where aesthetic qualities of form are put as a primary factor., Program: Konstnärlig masterutbildning i mode- och textildesign

This text is dealing with the intersection of three main elements: abstraction, geometrical form and distortion. Together these three paths forms garments around and in relation to the body. Throughout the project body is reduced into rectangular planes and cylinders. To reduce body into geometrical shapes can be explained as a method or a system through which body is approach as a neutral form. Because body is the source for abstraction, this approach can be applied to any part of the body and repeated in various compositions as it will always relate to a body form in some ways. The project also focuses on how to build holistic compositions through hues. Geometrically reduced body shapes are arranged through three dimensional compositions in which relationships between dominant, subdominant and subordinate forms are specifically in focus. Garments are embodied through weaving, Dominant and subdominant forms are investigated through distortion as a result of leaving warp and weft threads unattached in certain areas in the woven material. The technique expresses both organic and geometric in the material itself. In combination with colour blocks and panels and cylinders as forms, the technique was able to be translated into wearable forms. The project was developed as a dialogue between intuitive search and an intelligent reflective approach to outcomes. Because the projects put strong focus on subconscious notion of form emotions and senses plays an important role as guidance throughout the project. Findings are presented in collection of ten outfits where aesthetic qualities of form are put as a primary factor., Program: Konstnärlig masterutbildning i mode- och textildesign

Thirty-five percent of Danish women experience sexual or physical violence in their lifetime. However, health care professionals are not in the practice of asking about intimate partner violence (IPV) in Denmark. It is currently unknown what hinders general practitioners from asking about partner violence and how Danish women would perceive such an inquiry. This aspect has not previously been explored in Denmark. An exploratory study was conducted to examine what hinders general practitioners (GPs) from asking and what Danish women's views and attitudes are regarding being asked about IPV.

Almedahls have for some time started to receive more customer complaints about uneven roller blind fabrics or so-called waves over fabric. The waves are a major problem for Almedahls customers since they make it hard to cut the fabric into roller blinds. The company believes that the waves appear due to different process parameters within their finishing line but the company do not yet know how or where. The thesis project strives to find an explanation to what waves over fabric are, why they appear and how they can be reduced. The documentation that Almedahls have made of the problem so far, including photographs and customer complaints reports, was examined. Orders produced from four selected grey-weaves during the last three years was examined and compared to received customer complaints and standard operations lists. No clear relationship was found and weaves with longer process lines did not seem to cause more waves to appear. However, addition of an extra colouring to the standard operations appeared to be more frequently occurring when a standard operations list had been changed.Waves over fabric were at an early stage related to the mechanical properties of the weaves as the weaves are exposed to stresses and strains during the entire production line. In Almedahls’ finishing line the web and the beam tensions and the levelling mechanisms in the stenter frames appeared to be the parameters which especially apply stresses and strains. Tensile tests were performed to examine the mechanical properties of a few of Almedahls grey-weaves and half processed weave. The test results showed that a strain between 11-27 % can be applied before the test samples start to deform while calculations of the amount of strain applied by the stenter frames showed to be much less, between 2.5-3.5 %. The difference in size between the test samples and the weaves must be considered when comparing these results. The small, repeated strains applied by the finishing line may eventually, Program: Magisterutbildning i textilteknologi

Almedahls have for some time started to receive more customer complaints about uneven roller blind fabrics or so-called waves over fabric. The waves are a major problem for Almedahls customers since they make it hard to cut the fabric into roller blinds. The company believes that the waves appear due to different process parameters within their finishing line but the company do not yet know how or where. The thesis project strives to find an explanation to what waves over fabric are, why they appear and how they can be reduced. The documentation that Almedahls have made of the problem so far, including photographs and customer complaints reports, was examined. Orders produced from four selected grey-weaves during the last three years was examined and compared to received customer complaints and standard operations lists. No clear relationship was found and weaves with longer process lines did not seem to cause more waves to appear. However, addition of an extra colouring to the standard operations appeared to be more frequently occurring when a standard operations list had been changed.Waves over fabric were at an early stage related to the mechanical properties of the weaves as the weaves are exposed to stresses and strains during the entire production line. In Almedahls’ finishing line the web and the beam tensions and the levelling mechanisms in the stenter frames appeared to be the parameters which especially apply stresses and strains. Tensile tests were performed to examine the mechanical properties of a few of Almedahls grey-weaves and half processed weave. The test results showed that a strain between 11-27 % can be applied before the test samples start to deform while calculations of the amount of strain applied by the stenter frames showed to be much less, between 2.5-3.5 %. The difference in size between the test samples and the weaves must be considered when comparing these results. The small, repeated strains applied by the finishing line may eventually, Program: Magisterutbildning i textilteknologi

Banda Aceh

Naturen är ett undersökande arbete i att uttrycka och materialisera en stämning baserat på minnen från en kvällsvandring. Jag gestaltar upplevelsen och materialiserar den i textil. Genom att undersöka möten mellan olika textila tekniker vill jag skapa en kollektion som ger en förnimmelse av min naturupplevelse. Text ur Caroline Ringskog Ferrada-Nolis bok Naturen har varit utgångspunkt vid uppbyggnaden av kollektionen. Resultatet är en dynamisk textilkollektion för hemmiljö som innehåller digitaltryck, ausbrenner jacquardväv och en stickad struktur.Nature is an exploratory work on expressing and materializing a mood based on the memories of a night walk. I portray the experience and materialize it into fabric. By examining the interaction between different textile techniques, I create a collection that gives a perception of my experience of nature. Text from Caroline Ringskog Ferrada-Nolis book Naturen has been the starting point in building up the collection. The result is a dynamic collection of textiles which includes digital printing, ausbrenner, jacquard weaving and a knitted structure., Program: Textildesignutbildningen

Naturen är ett undersökande arbete i att uttrycka och materialisera en stämning baserat på minnen från en kvällsvandring. Jag gestaltar upplevelsen och materialiserar den i textil. Genom att undersöka möten mellan olika textila tekniker vill jag skapa en kollektion som ger en förnimmelse av min naturupplevelse. Text ur Caroline Ringskog Ferrada-Nolis bok Naturen har varit utgångspunkt vid uppbyggnaden av kollektionen. Resultatet är en dynamisk textilkollektion för hemmiljö som innehåller digitaltryck, ausbrenner jacquardväv och en stickad struktur.Nature is an exploratory work on expressing and materializing a mood based on the memories of a night walk. I portray the experience and materialize it into fabric. By examining the interaction between different textile techniques, I create a collection that gives a perception of my experience of nature. Text from Caroline Ringskog Ferrada-Nolis book Naturen has been the starting point in building up the collection. The result is a dynamic collection of textiles which includes digital printing, ausbrenner, jacquard weaving and a knitted structure., Program: Textildesignutbildningen

Almedahls have for some time started to receive more customer complaints about uneven roller blind fabrics or so-called waves over fabric. The waves are a major problem for Almedahls customers since they make it hard to cut the fabric into roller blinds. The company believes that the waves appear due to different process parameters within their finishing line but the company do not yet know how or where. The thesis project strives to find an explanation to what waves over fabric are, why they appear and how they can be reduced. The documentation that Almedahls have made of the problem so far, including photographs and customer complaints reports, was examined. Orders produced from four selected grey-weaves during the last three years was examined and compared to received customer complaints and standard operations lists. No clear relationship was found and weaves with longer process lines did not seem to cause more waves to appear. However, addition of an extra colouring to the standard operations appeared to be more frequently occurring when a standard operations list had been changed.Waves over fabric were at an early stage related to the mechanical properties of the weaves as the weaves are exposed to stresses and strains during the entire production line. In Almedahls’ finishing line the web and the beam tensions and the levelling mechanisms in the stenter frames appeared to be the parameters which especially apply stresses and strains. Tensile tests were performed to examine the mechanical properties of a few of Almedahls grey-weaves and half processed weave. The test results showed that a strain between 11-27 % can be applied before the test samples start to deform while calculations of the amount of strain applied by the stenter frames showed to be much less, between 2.5-3.5 %. The difference in size between the test samples and the weaves must be considered when comparing these results. The small, repeated strains applied by the finishing line may eventually, Program: Magisterutbildning i textilteknologi

Almedahls have for some time started to receive more customer complaints about uneven roller blind fabrics or so-called waves over fabric. The waves are a major problem for Almedahls customers since they make it hard to cut the fabric into roller blinds. The company believes that the waves appear due to different process parameters within their finishing line but the company do not yet know how or where. The thesis project strives to find an explanation to what waves over fabric are, why they appear and how they can be reduced. The documentation that Almedahls have made of the problem so far, including photographs and customer complaints reports, was examined. Orders produced from four selected grey-weaves during the last three years was examined and compared to received customer complaints and standard operations lists. No clear relationship was found and weaves with longer process lines did not seem to cause more waves to appear. However, addition of an extra colouring to the standard operations appeared to be more frequently occurring when a standard operations list had been changed.Waves over fabric were at an early stage related to the mechanical properties of the weaves as the weaves are exposed to stresses and strains during the entire production line. In Almedahls’ finishing line the web and the beam tensions and the levelling mechanisms in the stenter frames appeared to be the parameters which especially apply stresses and strains. Tensile tests were performed to examine the mechanical properties of a few of Almedahls grey-weaves and half processed weave. The test results showed that a strain between 11-27 % can be applied before the test samples start to deform while calculations of the amount of strain applied by the stenter frames showed to be much less, between 2.5-3.5 %. The difference in size between the test samples and the weaves must be considered when comparing these results. The small, repeated strains applied by the finishing line may eventually, Program: Magisterutbildning i textilteknologi

Esta publicación hace parte de la colección Hilando Memoria Indígena y busca contribuir al rescate, difusión y apropiación del patrimonio cultural tangible e intangible de las comunidades indígenas colombianas. El texto manifiesta la riqueza simbólica que tiene para los Iku el proceso textil y el traje, la profunda relación que tienen las herramientas y las diversas tareas con la armonía de la naturaleza. Permite comprender los valores culturales que subyacen la tradición textil y la responsabilidad de velar por el equilibrio del universo sentida por los pueblos indígenas de la Sierra Nevada de Santa Marta.

Can texture embody the idea of a place? Or does a place provide meaning to the textures used to construct it? This thesis seeks to explore the contribution of texture to our understanding of, and relationship with, the built environment. To test this, a mixed use program will be explored in the neighborhood of Mount Vernon Square in Washington, DC.

The fabric of the city. A folded roof plane. Textile brick. The density of a weave. A fabric's structure. A hem's meter. The selvage. The fringe. Weaving. The connections drawn between textiles and architecture are limitless. Can a building and the processes that occur within it stitch together the holes in a city? The project explores the relationship between weaving and architecture. Can all aspects of the building - from spatial sequences and circulation to structure and skin - be woven?

The fabric of the city. A folded roof plane. Textile brick. The density of a weave. A fabric's structure. A hem's meter. The selvage. The fringe. Weaving. The connections drawn between textiles and architecture are limitless. Can a building and the processes that occur within it stitch together the holes in a city? The project explores the relationship between weaving and architecture. Can all aspects of the building - from spatial sequences and circulation to structure and skin - be woven?