BODY - FORM - WEAVE Investigating objects as alternative weaving looms to challenge

traditional form of weave with focus on up-cycling

BA Fashion DesignMärta Wallgren

Supervisor: Karin Peterson Report number: 2021.3.07

Look Book

Degree Project Märta Wallgren BA Fashion 2021

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Degree Project Märta Wallgren BA Fashion 2021

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Degree Project Märta WallgrenBA Fashion 2021

AbstractThis 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.

Key words: Weave, Fashion, re-make, alternative looms, crafts

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Table of contentsBODY - FORM - WEAVE 3

Abstract 4

Table of contents 5

1. Introduction to the field 6Weaving 6Development of weave 6Waste materials 7Upcycling 7Weave in relation to garments 7Summary 8

1.2 State of the Art 9Radicalsloyd 9Anton Alvarez 9Lauren DiCioccio 2015 10Mannequin Loom 2015 10Karolina Centeno Norberg 2018 11

1.3 Aim 11

1.4 Motive and Idea 12

2. Method 132.1 Design method in general 132.2 Practical Method 142.3 Design rationale 15

3. Result 163.1 Design Experiment/Development 16Example 1 16Example 2 19Example 3 22Example 4 26Example 5 303.2 Design Examples 343.3 Tech pack 39

4. Discussion 44

5. References 46

Appendix 48

Degree Project Märta WallgrenBA Fashion 2021

1. Introduction to the fieldThis project investigates the relationship between material, form and body with focus on the action ofmaking. By investigating handweaving and the possibilities to create material and formsimultaneously the work strives to challenge the traditional form of weave by using alternativeweaving looms and upcycled materials. The work positions itself between art, fashion and crafts.

In the following chapter a variety of definitions and background facts about weaving and crafts will bepresented.

WeavingWeaving is one of the oldest craft techniques dating back to 7000 BC (Nationalencyklopedin) with thebasic definition “to make (cloth) on a loom by interlacing warp and filling threads”(Merriam-Webster).

The technique is most commonly used on a weaving loom where warp and weft yarn are crossingeach other in different ways creating different structures and patterns. There is a great variety ofweaving structures but they can all be derived from the three basic weaving structures, plain weave,twill weave and satin weave (Nationalencyklopedin). The technique is and has been used to makedifferent types of textiles with different uses such as: carpets, tapestry, interior design and mostrelevant within this work: material for clothing.

Sheila Hicks is a fiber artist who is well known for her bold and colorful art within textiles. Her workpushes boundaries between crafts and arts and contains a broad form and material investigation thatmade her into one of the pioneers within the “Fiber Art Movement” during the 1960s and 70s(Gardner 2021). Hicks' work can be described as monumental paintings, sculptures andthree-dimensional textiles and has played a great role in the development of weave going fromtwo-dimensional tapestry-making into three-dimensional fiber art (Gottesman 2016).

Development of weaveThe development of weaving in relation to the development of the way we cut clothes has a clearconnection throughout our history (Tarrant, 1994). When fabrics were woven by hand the timeconsuming technique made fabrics a high value material and clothes were often cut so that no materialwas wasted. Instead garments were made from the full width of the cloth and pieces of fabric wereadded to create shape (Tarrant, 1994). As the loom developed from vertical to horizontal it enabled afaster production of fabric. When the horizontal loom was introduced in Europe about AD 1000longer and wider fabrics could be produced and changes in dress were to be seen as a directconsequence (Rissanen, 2013). During the industrial revolution the development of more efficientweaving looms and the innovation of the sewing machine led to a shift from tailored garmentproducing less waste to ready-made or mass produced ones (Tarrant, 1994; Rissanen, 2013). Thetextile industry developing during the 1800s has continued to grow and is today one of the largestindustries in the world.

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Waste materialsThe way we produce and consume textiles and clothing today are far from sustainable. The fastfashion industry continues to grow and in the last 15 years the production of clothing almost doubled(Ellen MacArthur Foundation, 2017). Meanwhile, a number of studies about the environmentalimpact of the textile industry have been published all stating the same conclusion: we need to changethe system.

The environmental impact is to be found in all stages of production. From farmers growing the fibersusing a lot of water and toxic chemicals, toxic emissions during wet treatment such as dying,finishing, printing and the use of fossil energy sources in production of yarns and fabrics (Sandin, G.& Peters, G. M., 2018). Further on, the way we consume and utilise garments we buy is also part ofthe problem. Compared to 15 years ago the number of times a garment is used has decreased by 36%.Garments that still could be worn are thrown away and according to the report “A New TextilesEconomy: Redesigning Fashion’s Future” from Ellen MacArthur Foundation 2017 some garments arediscarded after just seven to ten wears.

The increasing demand for newly produced textile products in combination with the short use of thesame, does not only make the industry one of the most polluting and resource-intensive industries inthe world, it also leads to an enormous increase of post-consumer textile waste.From the total input of material only 13% is recycled in some way meaning that almost 70% of allclothing produced are disposed of ending up in landfill or incineration (The price of fast fashion,2018). The few percent of clothing that are recycled are mostly downcycled to lower-value productssuch as insulation material, mattress stuffing, industrial rags and blankets. (Sandin, G. & Peters, G.M., 2018)

UpcyclingOne way to address the environmental issue within the field and to recycle materials is throughupcycling. Compared to downcycling where materials are turned into low value products, upcycling isa method to turn a low value material or objects into a product with higher value and of greater use(Lidström, 2020).

Weave in relation to garmentsWithin fashion the most used method to create clothing from woven materials is through cut and sew(Rissanen 2013). A method where the pattern pieces are cut out from the fabric and then sewntogether into a three dimensional garment. In other words, to make a two dimensional fabric become athree dimensional form, made to fit the body. Within knitwear, on the other hand, it is possible tomake whole garment construction because of the knits inherent ability to create material and shapesimultaneously. Fully-fashioned is a method where pattern pieces are knitted into preferable shape andthen sewn together into a garment. A technique that creates a minimal amount of waste (Landahl,2015).

Digital tools and technology has made it possible to mimic the hand knit and to develop machines tomake seamless wholegarment construction. One example is the SWG (Shima SeikiWHOLEGARMENT®) knitting system from 1995 developed by the Japanese company Shima Seiki.The knitting machines they introduced were able to knit whole ready-to-wear garments and thetechnique was an important development for the industrial production of knitwear (Landahl, 2015).

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A-POC (a piece of cloth) is another groundbreaking innovation developed 1997 by the designer IsseyMiyake and textile engineer Dai Fujiwara. A special warp knitting technique made it possible to makegarments directly within the making of the fabric (figure 2).The garments are later on cut out from thecloth and no sewing is required (Landahl 2015).

Figure 2, A-POC

Within weaving the way of creating garment and fabric or material and form simultaneously has notbeen explored to the same extent. Although there are examples of similar technology whitin weavingcalled DPOL (Direct Pattern on Loom) a technique where pattern pieces are woven directly into itsshape, used by the Indian company August (Rissanen, 2013).

SummaryThe use of traditional 2D garment construction to create 3D shape makes a distinction between thecreation of the woven cloth and the development of form. In this work the idea is to create form andmaterial in and as a simultaneous action to question the way clothing is usually made and to push thedevelopment of crafts. A three dimensional hand weaving technique will be used to investigate thepossibilities of creating woven shapes that can be related to the body. In the following part a variety ofartists and designers that have questioning conventions and ways to approach 3D-weaving will bepresented. In combination with the introduction, their work will lay as a foundation for this study.

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1.2 State of the Art

RadicalsloydThe Swedish artist Anders Jakobsen also known asLAGOMBRA, is known for his bold and controversial design.By assembling different objects and material without muchthought on how the end result will look like (or function) hecreates furniture, sculptures and clothing (figure 2).

With a focus on the action of making he made up his own way ofworking that can be described as radical-sloyd. In an interview inHemslöjden 2012 he describes how he let the material andprocess take him to unknown places and the final expression is adirect consequence of the making. There is no given way or givenplan, Jacobsen works freely and intuitively and his work is aperfect balance between boldness and honesty, amateurism andcraftsmanship.

The way Jacobsen works gives an interesting suggestion of howto challenge traditional ways of making and how to developmethods within crafts. Within this study a similar radical mindsetwill be used to challenge the form of weave.

Anton AlvarezAnton Alvarez is known for his Thread Wrapping Machine 2014,his own designed tool that can join different materials bywrapping them in a glue-coated thread. The machine makes itpossible to assemble all kinds of materials into larger shapes andby varying the colors and type of threads the techniche createsbeautiful patterns on the final objects (Figure 3).

Based on knowledge from traditional craftsmanship Alvarez'swork focuses a lot on how innovative technology and advancedtools help him push the boundaries and expression in crafts. Thework is an investigation into methods where the tools he createsfor himself are as much a part of his work as the finished objects.The thread wrapping machine makes it possible to develop an oldcraft technique into a new area of use with the result beingcolorful, unconventional and surprising sculptural objects andarchitecture (Alvarez). The way the work challenges the processof cut and assemble within furniture design is interesting inrelation to the work that will be explored in this study.

Figure 4, The Thread Wrapping Machine by Anton Alvarez

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Lauren DiCioccio 2015Lauren DiCioccio is an artist who creates sculptures by coveringobjects using different textile techniques. One of the sculpturesfroma series called Familiars, is made from colorful strips of fabrichandwoven around a bendable ventilation pipe (figure 6).DiCioccio starts by assembling different objects into a form andthen she weaves around it. Her work gives suggestions on how towork with a three dimensional weaving technique from a moreartistic approach and how the base structure or the “loom” affectsthe shape.

The sculpture shows an interesting relationship between materialand form and a similar method will be used in this work to reachthe aim to challenge the traditional form of weave.

Mannequin Loom 2015Jacqueline Lefferts work, the Mannequin Loom from 2015,questions the relationship between woven fabrics and garmentdesign and why these two are seen as separate parts in the makingof a garment. By creating her own tool, a loom shaped as amannequin (figure 7), Lefferts investigates the possibilities toweave a whole garment without cut and sew (Lefferts, 2015). Herintention with the work is to question the way designers blindlyaccept the tools they are used to working with, hindering themfrom developing new designs. What is interesting is that eventhough Lefferts work gives suggestions on how to push thetechnique she does not challenge the shape of dress, nor the wayto approach the body. The garments are divided into horizontaland vertical lines similar to classic pattern construction (Figure8). In this work the aim is to challenge the technique further byinvestigating objects as alternative looms not related to the bodyto reveal new shapes.

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Karolina Centeno Norberg 2018In her graduate collection from 2018 Karolina Cento Norberginvestigated the possibilities to use hand weaving as a techniquefor making three dimensional garment construction. Her workfocused on the relation between the material and garment andhow these two were created simultaneously. In a self made frameshe was able to weave in crossing directions and conducted herwork without cutting or sewing. Centeno Norbergs work showsthe great potential of weaving as a method to create shape andgarments (Centeno Norberg, 2018).

The outfits are made of strips of fabric that are woven togetherwith a basic weave structure. The strips are linked with a simpleknot and by using different fabrics, materials and color CentenoNorberg creates both patterns and shades into the garments(figure 9).

What has not been considered when it comes to material choicesis the sustainability aspect from a material point of view. In thisstudy the aim is to work with a similar approach to weaving,creating a three dimensional weaving but with focus on how tocombine thistechnique with upcycling of textile waste.

1.3 Aim

Investigate bodies, objects and other as alternative weaving looms to challengethe traditional form of weave with a focus on up-cycling

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1.4 Motive and IdeaThere are two main motives for this work. Primarily the work argues the importance to maintain anddevelop craft techniques and secondly to give suggestions of how to address the environmentalproblems within the industry.

The work strives to challenge traditional ways of making clothes by investigating the relationshipbetween material, form and body through a three dimensional hand weaving technique with focus onup-cycling.

As mentioned before, the method of cut and sew makes a distinction between the creation of thewoven cloth and the development of form (Rissanen, 2013). In this work the idea is to create form andmaterial in and as a simultaneous action to question the way clothing is usually made and to push thedevelopment of crafts.

In her licentiate thesis, Reversed Crafting, Karin Peterson writes about the problems of using “[a]nancient method and a craftsmanship, cut and assemble [...] originally developed through and for lowvolume bespoke making [...] within a capitalist system dependent on high turn aroundmanufacturing”. Peterson inquires for new tools and argues that “if we consider these systems of dressand textile manufacturing to be unsustainable, perhaps it may be of concern to address this throughphysical investigations“.

Her work raises questions regarding how old ways of manufacturing still are affecting the way we areworking today and furthermore “providing us with garments we already know and have access to,rather than with new methods and systems of dress.”(Peterson, 2020).

A similar argumentation is done by Karin Landhal stating that working from a pre-known shape of agarment affects the design process and makes it difficult to reveal new expressions in fashion(Landhal, 2015). Futheron, Landahl discusses the importance of reducing the gap between form andmaterial in the design process by questioning the silhouette and garment types as driving forces whendesigning. Even though her study concerns knitwear the discussion is relevant when it comes toweaving as well.

In the previous chapter works by both Centeno Norberg and Lefferts were presented and showedinteresting results of the possibilities within 3D hand weaving. But even though both CentenoNorberg and Lefferts are using new, own designed tools to push the technique, the outcome and formof dress are similar to garments we know. The weave is conducted in such a way that the garmentsand body are divided in a classical way similar to classical garment construction. In this project3D-weaving will be used in investigation of not only the human body but of other bodies and objectsto reveal new expressions and forms, similar to the work of DiCIoccio.

This work strives to push the development of 3D hand weaving technique further. With a greater focuson form and with a clearer approach to sustainability the work aims to challenge conventions, pushboundaries and hit the limit of weave.

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2. Method2.1 Design method in general

In Research in art and design, Chrisoffer Frayling discusses the role of research within the field of artand design. He determined a previous thought of research and design as separate parts, arguing that“Research is a practice, writing is a practice, doing science is a practice, doing design is a practice,making art is a practice. The brain controls the hand which informs the brain.”( Frayling, 1993, p.4).He describes three different ways that research and design are related.

- Research into art and design- Research through art and design- Research for art and design

In this study Research through design will be used as a method to gain knowledge, meaning that thedata will be collected through the process of making. The work will be conducted through apractice-led design research. Where the action of making will be the method to collect knowledge anddata. The process of “thinking through making” is a way to understand and learn about the worldargued by Tim Ingold In his book Making. Anthropology, Archaeology, Art and Architecture. Ingolddescribes the “thinking through making in which sentient practitioners and active materialscontinually answer to, or 'correspond', with one another in the generation of form.” To further describethe steps of the creative process the Double Diamond Design Model will be used.

The Double Diamond Design model was introduced by the British Design Council 2005 and is usedto map the design work and help designers to follow their line of thought throughout the process. Themodel is not suggesting to go through these steps in a linear process. Instead the outcome benefitsfrom alternating between the different phases. The model is divided into four parts:

Discovery - the research part were all information about theproblem or possibility are gathered

Definition - the data collected in the previous step are elaboratedand a clearer definition of the problem and context are decided.

Development - the practical design process begins to findsolutions to the problem. In this part the design experiment willtake place.

Delivery - testing the solutions and evaluating how well theyfulfill the purpose. In this step improvements of the product aredone.

Within this work the double diamond method will be used to understand when and how to makedecisions based on where in the process of the four stages the project is. The experiments are based onpractical and artistic work and the process can be explained by the following procedures:

Background research phase: Visual and theoretical research about the topic are done to understand,analyze and define the aim and the issue in relation to the field.

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Sourcing and investigation of objects and materials: Objects were collected and materials werecollected from second hand stores and investigated regarding properties and color.

Embodied Ideation: Form experiments were conducted through a practical design method.

Design development: The findings from the experimental part were further developed.

2.2 Practical MethodIn order to develop potential suggestions of how to challenge the traditional form of weave the needfor a practical method to gain ideas and physical examples was crucial. The practical method wasbased on previous work made during the artistic development course. The experiment was conductedthrough a series of experiments where different objects were investigated as alternative weavinglooms. The practical method is positioned in the second diamond phase and the focus will be ondeveloping design examples that fulfill the aim.

The practical method is divided into three steps main steps:1. Selection of an object that can function as a alternative weaving loom2. Conducting a weave around or within the chosen object3. Investigation of the woven shape in relation to the human body

The objectsObjects are used as the main tool to create shape and are the starting point in the creative process. Theobjects act as looms and are the supportive structure required to conduct a weave. The objects arechosen by the criteria of having a three dimensional shape and a scale that relates to the body.

The weaveThe weave is the connecting structure in this project. It is firstly a material and the surface thatcommunicates shape and color to the viewer. It will constitute the physical part of the work. Iit alsofunctions as a documentation of the act of making. It contains information about the work and thoughtthat was put in.

The bodyIn this project the human body is used as a tool to understand the woven shapes. The supportivestructure that holds them up. The goal is not necessarily to make shapes that fit the body and its needsbut that somehow relates to the body. By viewing the relationship between the body and the shapedifferently the aim is to gain knowledge that can lead to a further widening of the field.

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2.3 Design rationale

Selection of objectsThe objects that are used in the experiments are everyday objects that were found in the surroundings.To question the traditional tool of weaving simple objects with an easy access was important to select.All objects were in a scale and size that relates to the body and that was big enough to cover a bodypart or the whole body. A table, a chair, a hoolahoop ring and a swim tube are all made to fit orinteract with the body. Although this was not a criteria the selection consisted of objects with afunction related to the human body. This type of objects seemed to be easy to handle and work withsince I already had a relation to them. However, the method can be applied to all kinds of objects. Themost important criteria when selecting: Take what you have at hand.

MaterialsThe materials used in the work are all sourced from second hand stores or from post consumer wastestreams. Both garments and interior fabrics were used in the making of fabric strips. Sorting theclothes and fabric by color was a tool for collecting the materials. However, properties of the textilesalso became important when sourcing as the project progressed. In the first experiment the warp andthe weft were containing the same material but later on contrasting yarns and material was tried out tocreate another expression. Both in color, pattern and in the texture.

Weave structureAll the examples were done using plain weave structure. It is the most basic structure where thethreads are interlocked in an even phase. Some of the weft yarns used in the experiment were thickand therefore the plain weave was seen as the most successful structure due to the fact that it connectsthe weft threads between every warp thread, creating a strong structure.

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3. Result3.1 Design Experiment/DevelopmentThe examples below are all made from the same practical method but along the process newknowledge was gained and put into the next experiment. The experiments are thus a chain ofexperiments and line of thought.

Example 1Loom:

- Large hula hoop ring- small wooden ring

Materials:- Cotton bedsheet- Jersey garments

Equipment:- Scissors

Preparation, method and procedure:1. Prepare the material by cutting the textiles and garments into stripes using a scissors2. Connect the two rings and place them on the wall3. Add stripes of fabric around the object in a chosen direction: creating the warp4. Continuously weave stripes of fabric into the warp5. Release the weave from the loom and documents its shape6. Place the weave on the body, try different placements7. Continue to weave around the body or add material to finish the weave

Comments:The warp yarn was wrapped around the larger ring, through the smaller ring and then back again. Weft yarnswere woven into the warp from the middle and out. The weave was placed on the body and new warp yarnswere attached to fit the body.To finish the weaving process the big circle was removed. The released weave was easier to handle and made itpossible to try other placements on the body. The small circle functioned both as an opening for the arm and as a“window” highlighting different parts of the body. The weave was decided to be placed on the torso. A warpthread from the front was connected to the back piece. As the weave was released from the loom it collapsedand changed in shape and from.

Preparing the loom

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Continuing by weaving around the body

Different placements of the released weave on the body.

First edition of the look. The weave was placed as a top.

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Final placement of the shape. The shape was decided to be placed as a dress. The same placement it had duringthe making of the skirt part.

Further Development:The result was presented and evaluated. A discussion about how the shape differed from when it was in theloom and when it was released led to a decision to put the ring back in the dress. This was to give the look astronger expression and to let the weiver understand the shape and its origin.

The ring was put back into the dress. To finish the look moreweft yarn was added and the warp yarn was twisted aroundthe ring to cover it.

The finished look

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Example 2Loom: The cube

Materials:- T-shirts- Flax yarn- Rope

Equipment:- Scissors

Preparation, method and procedure:1. Prepare the material by cutting the t-shirts into stripes using a scissors2. Wrap the cube with fabric stripes so that they cover the four sides of the cube.3. Continuously weave stripes of fabric into the warp in opposite direction4. Release the weave from the loom and documents its shape5. Place the weave on the body, try different placements6. Continue to weave around the body or add material to finish the weave

Comments:

Previous examples were tried out on circular shaped objects and in contrast to that the second example was conductedaround a cube. The weave was placed on the body in different ways and openings for the arm and head were done by pullingwarp threads apart to create a hole. A challenge was to avoid putting the shape on classical parts of the body that refer togarment pieces. When the shape was put on the arm it referred to a sleeve, when it was placed on the hip it referred to a skirt.Thus, a search of how to approach the body differently to enhance the square shape was done. Placing the shape on the trososeemed to work. To complete the look a decision was made to continue weaving on cube shapes but the outcome was notfound successful due to the lack of shape. To further develop the look, fast sketches were done giving suggestions on how tofinish the look. Some of the warp threads were hanging out from the cube and a decision was made to attach more yarnsaround the whole shape creating a long silhouette.

Another insight when draping with one shape was the fact that the body is two sided. Meaning it has two arms and two legs,front and back. A fact that can seem trivial but still striking. The exploration gave an understanding of the whole body.

Preparations

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The weave is released from the loom

The shape is placed on the body in different ways

Opening for arm and head

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Unsuccessful bottom part

Sketches on final result

Final placement on the body

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Example 3Loom:

- A table- Small wooden frame- Metallic ring

Material:- Wool blanket- Elastic bands

Equipments:- Scissors- Industrial overlock machine

Preparation, method and procedure:1. Use the overlock machine to slice the wool blanket into stripes2. Attach the ring and the wooden frame on opposite sides of the table3. Wrap the elastic bands around the table from the two points4. Continuously weave stripes of fabric into the warp from the center and out5. Release the weave from the loom and documents its shape6. Place the weave on the body, try different placements

Comments:In previous examples the fabrics and garments had been cut into strips by hand. In this example the overlock machine wasused to cut the fabrics apart. The machines that are usually used to put fabrics together got a new purpose in this work andby choosing a contrasting thread the seam created a colored line at the edge.

The blanket sliced in the overlock machine.

For the third example a table was decided to function as the loom.

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A small square and a small ring was attached on the table to function as connecting points for the warp thread to runbetween.

The fabric strips were wrapped around the table until the whole piece was covered.

The weave was conducted from the middle and outwards. To enable the weave to be removed from the table an opening wasto be created. This was done by only letting the weft yarn end at a given warp thread at every turn.

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The weave is taking shape and removed from the loom.

The woven shape was placed on the body in different ways. The small square and circle were useful as guidelines to framedifferent parts of the body.

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To finish the look a larger piece of fabric was considered to be woven into the piece. The placement of the fabric referred toa garment in a way that was not preferable and therefore the shape was decided to be re-worked.

The final placement on the body.

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Example 4Loom:

- Inflatable swim ring

Material:- Wool blankets- Cotton fabric- Textile ribbons

Equipment:- Scissors

Preparation, method and procedure:1. Use the overlock machine to slice the wool blanket into stripes2. Attach the ring and the wooden frame on opposite sides of the table3. Wrap the elastic bands around the table from the two points4. Continuously weave stripes of fabric into the warp from the center and out5. Release the weave from the loom and documents its shape6. Place the weave on the body, try different placements

Comments:A difference in expression of the weave was found during the earlier experiments. When the weave was attached to theobject the material had a certain tension but when it was released it softened and almost collapsed. This was due to theheaviness of the material and because the supportive structure was removed. It also, to some extent, lost its shape. Theinflatable swimming tube could shift between stiff and soft and a new experiment was conducted around a swing ring withthat principle in mind.The knowledge from the experiment with the swimming tube example led to a new experiment with swimming tubes butwith a different approach to the object.

The warp was wrapped around the tube.

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The swim ring was removed from the weave. The weave that got a tubular shape was placed on the body. The shape fittedwell under the arm.

A new weave was made around the swimming tube. The swimming tube was left inside the weave.

The picture shows the opening of the swimming tube where air can be inflated/deflated.

The air in the tube is released. The pictures show the different stages in deflation and how it affects the shape.

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The shape is placed on the body and creates volume. Here the tube is half way filled with air creating a heaviness to theobject.

A second tube with the same technique is constructed to complete the look.

The two tubes are draped on the body in creating more dynamic and also connecting the whole body.

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The lower part was made on a dummy creating a skirt.

Final placement on body.

Further development:The final placement of the shapes was discussed and evaluated. The need of an additional garment wasdiscussed as something that did not fulfill the aim of the work and therefore a change in the silhouette wasneeded.

To finish the look the weft yarnwas used as shoulder straps tohold the shape in place. The ringinside the weave was alsodeflated to create a more relaxedshape. This was a way for thelook to be less connected to theswim ring and to have its ownshape that could interact with thebody in a smoother and dynamicway.

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Example 5Loom:

- Inflatable swim ring

Material:- Wool blankets- Cotton fabric- Textile ribbons

Equipment:- Scissors- Overlock machine

Preparation, method and procedure:1. Use the overlock machine to slice the wool blanket into stripes2. Attach the ring and the wooden frame on opposite sides of the table3. Wrap the elastic bands around the table from the two points4. Continuously weave stripes of fabric into the warp from the center and out5. Release the weave from the loom and documents its shape6. Place the weave on the body, try different placements

Comments:This experiment started out with a quick material sample made around a rounded pillow. The combination of materialcreated an interesting surface structure and shape.

The shape was the starting point for the last example that was decided to be upscaled.

The weave was once again conducted on a swim ring.

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Different placements on the body. Using the warp yarn to find placements of the weave.

The warp and weft yarns were pulled apart to make space for the head and arm.

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Final placement on body.

Further development of the lookThe final placement was presented and evaluated. The shape did not cover the body and an additional garment was needed.This was seen as an aspect that needed to be changed. A decision to add more material to the looks was made to make surethat the form covered the body.

A shape covering the arm was woven, creating a sleeve. The weave was shortened in the back to get a more balanced fit.Green fabric straps were added in the hemline of the weave to finish the look as well as connecting it to the red look nr. 2.

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Line up

First edition

Final lineup

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3.2 Design Examples

Example 1

EXAMPLE 2

EXAMPLE 3

EXAMPLE 4

EXAMPLE 5

Degree Project Märta WallgrenBA Fashion 2021

3.3 Tech packModel name: Red cube dressDescription: Hand woven maxi-dress with long fringes.

Front Back

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Degree Project Märta WallgrenBA Fashion 2021

The Weave Process

Measurement:A: 42 cmB: 40 cmC: 42 cm

Step 1:The warp yarn is wrapped aroundthe cube anti-clockwise. 40 turns.

Step 2:The yarn is woven into the warp atthe sides and creates the warp onthe top of the cube.

Step 3:The Third layer of yarn is woveninto the sides and the top creatingthe finished weave.

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Degree Project Märta WallgrenBA Fashion 2021

Details

Openings:The warp and weft yarns in thetop corner of the cube shape arepulled apart creating an openingfor the head and the right arm.The threads are not removed orcut, just gently pulled aside.

Fringes:The fringes are attached in thehemline of the cube.

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Degree Project Märta WallgrenBA Fashion 2021

Materials

Stripes of jersey fabricWidth of stripes: 3 cm

Flax yarn

Colors

Weave structure

Plain weave

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Degree Project Märta WallgrenBA Fashion 2021

Measurement

Ref Description Measurement in cm

A Cube width 42 cm

B Cube height 40 cm

C Cube depth 42 cm

D Shoulder width 20 cm

E Side 25 cm

F Length of fringes 115 cm

G Cube height 40 cm

H Length of fringes back 130 cm

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Degree Project Märta WallgrenBA Fashion 2021

4. Discussion

The aim of his work was to challenge the traditional form of weave by investigating objects asalternative weaving looms. By focusing on the action of making a number of experiments wereconducted through an investigation of the relationship between form, weave and the body. Theinvestigation has resulted in a series of 3d weaves related to the used objects and the body.

A limitation in the work is that in the search for the unknown it is hard to know when something isfinished. When is a form becoming a garment and how do we create new garments without alwayscomparing them to what we already know as garment. An explanation for this uncertainty could befound in the very method of the work. Different objects were the main tool when creating form. Thefact that these objects were not made for this purpose can be questioned. In some of the examples theshape of the weave still reminded of the objects and could be an explanation of why it was difficult todefine it as a garment or just an object/form placed on a body. However, in some examples the objectdid help to reveal new shapes that were easier to read as garments. In those cases the method wassuccessful and the outcome was a unique garment unable to be created on a traditional loom. To useeveryday objects as a tool and arguing that it can be a method to develop new ways of making clothesis perhaps radical. However, the investigation opens up discussions about our view on tools and theuse of unconventional ones.

The physical results of this study may not be proposed to be worn in an every-day-context due tomaterial and form. However, the final expression could start discussions about craft and our relation toit. From a designers point of view the result shows how the method and the use of objects could be atool to investigate processes of simultaneous form and material in weave.

The final expression of the result is a colorful, tactile and crafty collection of five looks. There are avariety of surface expressions going from smooth and compact weave in the red look to a thicker andrough weave in the beige and green looks. The work has shown the potential of creating 3d form butwhat can be argued as lacking is a profound research into the very weave structure. In all the designexamples plain weave has been used. A broader research into other weaving structures may havegiven a wider investigation in relation to the aim.

The work has been conducted with a clear approach to sustainability. The material in the collection isall collected from second hand stores and waste streams. The project shows the potential of themethod in regards to using discarded materials in the creation of new materials as well as forms.

The study argues the importance and possibilities with developing crafting techniques to create asustainable future.

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Degree Project Märta WallgrenBA Fashion 2021

Visual discussion - in technical and associative terms

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Degree Project Märta WallgrenBA Fashion 2021

5. References

Alvarez, A (u. å) Biography.http://antonalvarez.com/biography/ [2021-03-04]

A New Textiles Economy: Redesigning Fashion’s Future (Ellen MacArthur Foundation, 2017).https://www.ellenmacarthurfoundation.org/publications/a-new-textiles-economy-redesigning-fashions-future

Centeno Norberg, K. (2018). FRAME WORK: To develop hand weaving to create a three dimensionalgarment construction. Kandidatuppsats, Akademin för textil, teknik och ekonomi. Borås: Högskolan iBorås. http://hb.diva-portal.org/smash/record.jsf?pid=diva2%3A1372243&dswid=-2791

Frayling, C. (1993). Research in art and design. London: Royal college of art.

Landahl, K. (2015). The myth of the silhouette : on form thinking in knitwear design. PhD Thesis.Borås: University of Borås. urn:nbn:se:hb:diva-1079

Lefferts, J. (2015). Mannequin Loom. http://www.jacquelinelefferts.com/#/mannequin-loom/[2021-04-07]

Lidström, A. (2020). Remake: Design Foundations. Lic.-avh. Borås: Högskolan i Borås, Science ParkBorås. urn:nbn:se:hb:diva-23927

Merriam-Webster, (n.d.). Weave. https://www.merriam-webster.com/dictionary/weave [2021-04-10]

Nationalencyklopedin (u.å). Vävning.http://www-ne-se.lib.costello.pub.hb.se/uppslagsverk/encyklopedi/lång/vävning [2021-04-10]

Peterson, K. (2020). Reversed Crafting. Lic.-avh. Borås: Högskolan i Borås. 0000-0002-2724-1395

Rissanen, T. (2013). Zero-Waste Fashion Design: a study at the intersection of cloth, fashion designand pattern cutting. PhD Thesis. Sydney: University of Technology.http://hdl.handle.net/10453/23384

Sandin, G. & Peters, G. M. (2018) Environmental impact of textile reuse and recycling – A review.Journal of cleaner production. [Online] 184353–365. https://doi.org/10.1016/j.jclepro.2018.02.266

Tarrant, N. E. A., (1996). The development of costume. London: Routledge.

The price of fast fashion. (2018). Nature Climate Change 8, 1.https://doi.org/10.1038/s41558-017-0058-9

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Degree Project Märta WallgrenBA Fashion 2021

Figures

Figure 2:

Figure 3: Thisner, M och Greiling, K. (2014). Thread wrapping architecture. [Fotografi]http://antonalvarez.com/#thread-wrapping-architecture [2021-03-04]

Figure 4: Champion, J. (2012). Thread wrapping machine. [Fotografi]https://www.dezeen.com/2012/10/30/the-thread-wrapping-machine-by-anton-alvarez/ [2021-03-04]

Figure 5: Thisner, M. (2012). [Fotografi]https://www.dezeen.com/2012/10/30/the-thread-wrapping-machine-by-anton-alvarez/ [2021-03-04]

Figure 6: DiCioccio, L. (2015). Sculpture. [Fotografi] https://laurendicioccio.com/sculpture/new-work[2021-04-07]

Figure 7 and figure 8: Lefferts, J. (2015). Mannequin Loom. [Fotografi]http://www.jacquelinelefferts.com/#/mannequin-loom/ [2021-04-07]

Figure 9: Centeno Norberg, K. (2018). FRAME WORK [Fotografi]http://hb.diva-portal.org/smash/record.jsf?pid=diva2%3A1372243&dswid=-2791[2020-03-26]

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Degree Project Märta WallgrenBA Fashion 2021

AppendixStudent critique on Malins work.Malins Line up:

The two first looks in black and blue and in contrast to the three more pale/bright ones. A proposal tomake a new placement of the looks in relation to each other cloud make a more dynamic compositionof the line up.

New Line Up proposal:

New Line up proposal + colors from SOTA:

To give a suggestion of how to work with colors from SOTA references.

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