Anne Marr, Miriam Ribul and Emmeline Child will present their research in a symposium as part of the ‘Transition: Re-thinking Textiles and Surfaces’ conference at the University of Huddersfield. The PechaKucha style presentations will be part of a session on day two of the conference. The conference will be presenting 50 papers from over 11 countries and Professor Becky Earley will be giving a keynote on day one.
The conference proposes to explore the future of textiles and surfaces within different industries and contexts. The aim is to examine current and future developments in the field asking: how might we re-think textiles and surfaces in a climate of transition?
A full website with conference proceedings, hotel and venue information and registration is available here.
Professor Becky Earley is a panelist on New technologies are killing hand-made craft- a debate which asks if there is still a place for teaching traditional craft in art and design higher education as preparation for employment in today’s creative industries.
Hosted by Nottingham Trent University, the debate on Wednesday 19th of November will focus on the notion of craft as the art of hand-making that traditionally questioned and influenced design and manufacturing through inherent understanding of the properties and potential of materials. As part of the culture of consumerism, the challenges of 2D digital developments have been embraced and 3D now seeks the skills of hand-forming to progress. Some see this as riding roughshod over traditional craftsmanship. What is the impact of new technologies on quality and value and where does this leave the traditional craft maker?
Panel members include:
Christopher Breward, Principal Edinburgh College of Art; Vice-Principal Creative Industries and Performing Arts, formerly Head of Research Victoria and Albert Museum
Rebecca Earley, Textile Designer and Academic; Professor in Sustainable Textiles and Fashion Design Chelsea College of Arts; Director Textile Futures Research Centre UAL
Grant Gibson (Chair), Craft, Design and Architecture Writer; Editor Crafts Magazine
Tavs Jørgensen, Potter and 3D ceramic designer; Research Fellow, Autonomatic Research Group University College Falmouth; Visiting Tutor Royal College of Art
TED’s The TEN were co-developed by Professors Becky Earley and Kay Politowicz, and the team at TED between 2006 – 2010. They are sustainable strategies which aim to help designers reduce the environmental impact of textile design, production, use and disposal. They are not a check-list, but rather they are a framework for creative thinking and action. As ideas emerge, The TEN can be used to develop layers of strategic innovation – a chance to redesign and improve, or simply to communicate concepts and products more clearly.
The TEN emerged from a practice-based and collaborative approach over many years; and are perhaps best used when supporting teams in the design thinking process behind the creation of new prototypes which test potential solutions for a more sustainable industry. Recent action research projects have begun to evolve The TEN from prompts for small to medium size design companies into scalable concepts for design teams to adopt in large corporations in the UK, USA (VF Corporation) and Sweden (at H&M). This development enables the TED research team to constantly evolve and adapt The TEN – tailoring them to suit speeds, needs, contexts and circumstances.
In order to enable this action research in a more effective and timely manner – as is the wont in industry – the TEN have been made into a series of short animated films, to help participants grasp the essential considerations for textile and fashion designers to embrace in their day-to-day practice. The TED team have been writing scripts over the last year, Ana Diaz from SokFok Studio was the animator, and the project was funded by CLTAD, TFRC and Chelsea research. See our The TEN page to watch the animations and read more about each strategy.
As digital textiles continue to push the boundaries of innovation within wide format print production, the need for information is in greater demand. To meet this interest FESPA delivered another of its successful Digital Textile Conferences in Milan on the 2nd October 2014. Melanie Bowles spoke at the conference following the recent completion of her second publication “Print, Make, Wear – Creative projects for digital textile design“, Laurence King 2015.
This one day conference provided an international line-up of digital textile printing experts, ready to share a wealth of knowledge, experience and insight into the latest innovative products, trends, case studies and trade secrets.
The conference offered an opportunity to gain exclusive insight into the future direction of DTP and gain practical tips on embedding innovation in your business, while networking and connecting with global leaders of the print industry.
Transfer Vs direct printing
Sportwear and apparel
Serving interior markets
Digital textile inks
Case studies from leading printers and end-users
Rebecca Earley and Jen Ballie have written on the Black Hack Chat workshop they lead at 10th EAD conference in Gothenburg, April 2013. Their reflection on the workshop has been included in In the Making: The ‘Power to the People’ Workshop Track at Crafting the Future, an article edited by Otto Von Busch and published in The Design Journal volume 17 issue 3, September 2014.
“Over the last decade several projects and exhibitions have explored how crafts can play a central role for empowerment through social development, innovation and entrepreneurship. In order to facilitate this, there is a need to explore how craft practices can act as tools for empowerment, both in research and practice. The ‘Power to the People’ track at the European Academy of Design conference in Gothenburg 2013 tried to answer on this challenge with a series craft- based seminars, each centred on a participant’s proposed craft or ‘Paper of Practice’. this formed a series of practice-based seminars that mixed hands-on activities and discussion, centred on and emerging from the very act of doing.”
- Busch, O. (2014) “In the Making: The ‘Power to the People’ Workshop Track at Crafting the Future”, The Design Journal, vol. 17:3, September, pp379-402.
Black Hack Chat – a collaborative workshop was designed for the 10th EAD conference in Gothenburg – combined two research projects: the Black Hack approach was fused with Old is the New Black, where Jen Ballie and Otto von Busch re-worked old clothes using black paint. The aim of the EAD workshop was to push the boundaries of textile design practice through co-design, to identify how it can be used as a tool for citizen engagement for both the individual creating for themselves, and the retailer who wishes to creatively engage with their products over a longer time frame. In the run up to the event Earley made Fractal Shirt (2013) using a domestic iron, and published a ‘Shirt Film’ for people who wanted to make at home during the workshop session.
The full article can be downloaded here.
The TEXTILE TOOLBOX exhibition launches online on 13th November. It is a showcase of ten propositional design concepts inspired by Mistra research into the sustainability of the fashion and textile industry.
The exhibition platform functions as a research and public engagement
tool formed around TED’s ‘The TEN’ – design strategies for innovative sustainability thinking and action. The exhibition proposes how these strategies can translate technical and scientific research breakthroughs into design concepts. The new products demonstrate the potential for progressing a sustainable fashion system with new materials, processes, applications and business models. The exhibits are a starting point for discussion – provocations, or ‘provotypes’ – showing us how design tools can create entirely new visions for the future of the industry. This unique online platform offers a global audience a glimpse of a sustainable future fashion industry. An industry that ultimately gives the consumer pleasure whilst also giving the planet and its inhabitants absolute consideration.
The final design pieces use a strategic ‘TEN’ approach to create beautiful fashions for style fans to savour, with aesthetics connecting and responding to the scientific research of the MISTRA Future Fashion consortium.
- Seamsdress, by Dr Kate Goldsworthy
- A.S.A.P (Paper Cloth), by Prof Kay Politowicz, Sandy MacLennan (East Central), Dr Kate Goldsworthy, David Telfer (COS) and Dr Hjalmar Granberg (Innventia)
- Shanghai Shirt,by Prof Becky Earley and Isabel Dodd
- Inner/Outer Jacket, by Clara Vuletich
- DeNAture, by Miriam Ribul in collaboration with Hanna de la Motte (SP)
- ReDressing Activism, by Prof Becky Earley, Emmeline Child and Bridget Harvey
- Smörgåsbord, by Melanie Bowles and Kathy Round
- Sweaver, by Josefin Tissingh
- Fast Refashion, by Prof Becky Earley
- A Jumper to Lend, A Jumper to Mend, by Bridget Harvey
The collaborations with scientists, academics and professionals, have lead to Tool Kits for action, instructions for making, resources for learning, and films to sit back and watch. International training tools and education models will be available from the site as a free download in the final report in June 2015.
We will also invite a global fashion design audience to submit their own sustainable future fashion projects to us, and selected works will be showcased in an open gallery on the site. We also invite reviewers to send us feedback on the exhibition and to contribute to our final project report. Get in touch for the opportunity to be part of this exciting process.
For more information:
Please contact Angela Hartley, TFRC Manager, email@example.com
To follow the project’s progress and send feedback use Twitter, @textiletoolbox, Facebook group, or the project website – www.textiletoolbox.com.
17:30 to 19:30
CCW Graduate School would like to invite prospective research degree applicants to an open evening to find out more about research degrees at Camberwell, Chelsea and Wimbledon Colleges of Art.
The evening will be an opportunity to meet staff and students involved with the research degree programme. You will hear a number of short presentations throughout the evening with an opportunity for you to network and ask questions.
Information about funding opportunities will also be available.
Chelsea College of Arts 16 John Islip Street London
UAL students and recent graduates are invited to share their sustainable fashion and textile films on UAL Film Vert platform. The platform’s aim is to promote students’ work, their course and graduate projects and to showcase inspiring short films and animations focused on sustainable design in fashion and textiles.
To find out more or to submit your film, please email Ania Stawarska, TFRC Administrator firstname.lastname@example.org
To watch films showcased at the Film Vert event during UAL Green Week, visit Your Guide to Film Vert and UAL Film Vert platform.
UAL Film Vert Vimeo, funded CLTAD, is co-curated by Textile Futures Research Centre and Centre for Sustainable Fashion.
Clara Vuletich, the TED PhD candidate with MISTRA Future Fashion took part in a PhD seminar on Sustainable Fashion at the Centre for Fashion Studies at Stockholm University in May. Twelve PhD students presented their research from a range of disciplines including social science, fashion theory, textile design and management studies. The Convenors were Hazel Clarke (Parsons, NY), Andrea Kollnitz (Stockholm Uni.), and Alessandra Vaccari (University IUAV,Venice). Projects included a case study of sustainable brand Patagonia using Stewart Brand’s framework of The Long Now; a study of ‘slow fashion’ in Canada; and an investigation of fashion design/creativity within the organisational context of a fashion brand. The convenors summarised the overall themes covered as:
- Importance of new methods in fashion design education to incorporate sustainability
- The notion of time in fashion and sustainability – slow, fast, long timeframes, short timeframes
- Sustainability and Modernism: an historical perspective on sustainable fashion is vital, ‘art as fashion’ and activism in fashion has it’s roots in modernism
- Place/Geography/National Identity: the stories behind fashion brands and heritage
- Consumption and users of fashion: most discourse has focused on production or design, but consumption is as important and under-explored
- Slow: is the concept helpful? Is it outdated? Do consumers of fashion or designers use this term
The convenors found it “invigorating” to see projects from theory and practice being brought together, and they emphasised that in fashion design education these two aspects should not exist in isolation. They also felt the fashion designer’s role needs to be more critically evaluated, as there is little understanding of how fashion designer’s ‘do’ design in the academic literature.