Textile design

DESIGN

Historical Design Development

• Overview of design development in society through ONE of the focus areas:
• Apparel (swimwear)

 

History of Swimwear
*See sheet

Influences on Society *see sample answer for Design
The use of nylon (lycra) has influenced other areas of apparel such as:

• Surf gear such as board shorts, rash vests, hats, accessories
• Stimulated research and development of laminated fabrics (neoprene) such as wet suit fabric
• Gym, aerobic and dance wear
• Bike pants, rock climbing gear
• Underwear and lingerie
• Leggings, stockings, socks
• Body suits – casual and evening wear
• Lycra has also been blended with other fibres such as cotton, wool, silk, synthetics in suits, pants, jeans and shirts. This allows for a slimmer fit, comfort and easy care since lycra can expand by up to 500%

Heightened awareness and Australia’s high rate of skin cancers has led to the further development of traditional fabrics used for swimming costumes. The companies Radicool, Sunskins and Solasuits have all developed fabrics that protect the skin from the harmful UV rays in the sun (UPF 50+ fabrics).
Chlorine resistant fabric (Chlorisi) is durable, supple, stretchy and comfortable. All these fabrics are used to make swimwear for all ages, polo shirts, air mesh shirts, hats and protective driving sleeves.

Fabric Decoration

• principles of applying colour to fabrics, yarns and fibres

 

Principles of Dyeing
Dyeing is a process where dye molecules, thoroughly dissolved in water or some other carrier, are able to penetrate and colour textiles in a solid shape or design.

• The dye is dissolved in a given quantity of water.
• The textile is wetted out to help swell the fibre, making it easier for the dye to enter the fibre
• The textile is immersed in the solution
• The dye molecules migrate from the dye solution to the surface of the textile
• The dye molecules move into the amorphous regions of the fibre where it is anchored in the fibre.

Agitation helps to separate fibres from each other and thereby increases the potential surface area for dye to be absorbed.
Time should be allowed for the dye to be absorbed but not too rapidly as the spread could be uneven.
Steaming is carried out after dyeing to ensure colour fastness. It swells the fibre allowing access to dye molecules within the polymer system (can be done commercially or with a steam iron).

Principles of Printing
Printing is a process of applying coloured patterns to the surface of fabrics by the use of print paste.

• Print paste is applied to the raised surface of a printing tool.
• Printing tool is pressed against the surface of the textile.
• The paste is transferred to the surface of the textile in the specific areas of the design. Precise alignment is important to achieve good registration.
• The fabric is steamed to fix or set the dye so that colours will not run, fade or crock.
• The fabric is washed to remove all loose or non fixed colour and any residue chemicals and thickening agents.

Steaming – during steaming the fibres in the fabric swell due to the effect of the moist hot steam which allows the print paste to penetrate and be absorbed by the fibres. This creates a firm bond between the fabric and the paste.
Methods – Block, roller, stenciling, screen (manual, automatic, rotary), heat transfer, resist, discharge, fabric painting, marbling.

Differences between Dyeing and Printing
Dyeing produces a solid even colour on both the right and wrong sides of a fabric.
Printing produces a defined pattern on the right side of fabric. It allows the production of multi coloured patterns on fabrics.

• methods of fabric decoration, including printing, dyeing, appliqué and embroidery

 

Printing
Description of technique – Colour applied using a printing paste forced through an image on a silk screen.
Reasons for choice – Inexpensive, suitable for mass production, fast, durable, large variety of colours can be used

Stencil Printing
Equipment and Materials – Iron, Calico, stencil (either purchased or cut out from cardboard), stencil brush, fabric paint, masking tape.
Process –

• Tape fabric to table and tape stencil to fabric to avoid slipping or movement
• Apply a small amount of paint to brush and remove some of it by rubbing onto a scrap of newspaper
• To stencil the design, use brush and dab it onto the surface until design is covered
• Remove stencil and leave to dry
• Once dry, iron to seal the paint into the fabric

Uses – Stencil printing can be used on a variety of items. There are many different stencils available and you can design your own so it is a creative and personalized technique. It adds colour and interest to napery, upholstery and clothes as well as a range of artistic textile pieces.
Limitations – If too much paint is applied it may bleed and ruin the design.

Dyeing

Batik
Equipment and Materials – Frying pan, wax stamps, rubber gloves, flat bottomed bowl, knife, bucket, clothes rack, pegs, wax pre-washed lawn, dylon cold water dye, salt.
Process –

• Heat wax in frying pan until there is an inch or so of melted wax in the bottom
• Dip wax stamps into hot wax and then press onto pre washed lawn in required design
• Put on rubber gloves and fill bowl with water
• Pierce tin with knife and dissolve in 500ml of hot water in bucket and add to dye bowl
• Dissolve 150 grams of salt and 1 sachet of dylon cold fix in hot water and add to dye bowl
• Immerse batik sample unfolded and dye for one hour, agitating for the first 10 mins and lifting out of dye to prevent folds forming. Repeat stirring at brisk intervals for the remaining time
• Rinse fabric in cold water until the water runs clear
• Hang on clothes rack with pegs to dry

Uses – Batik is used to develop creative and interesting designs on fabric before they are manufactured into textile items. Batik can be used for clothing, accessories, haberdashery and costuming to produce bright and vibrant dyed designs.
Limitations – If there is too much wax on the stamp, the stamp may drip or bleed on the fabric causing an undesired pattern. If there is not enough wax on the stamp, the wax won’t full penetrate the fabric and once dyed, the fabric won’t retain the desired design.

Applique

Machine Applique – Fused (Vliesofix)
Equipment and Materials – Sewing machine, bobbin, bobbin case, cotton thread, patterned material, calico, vliesofix, paper, pencil, scissors, iron
Process –

• Draw and cut desired design out of paper to use as a template
• Using template, cut design out of patterned material and vliesofix
• Iron material and vliesofix together and iron the material to the calico
• Thread machine and thread to desired width zigzag setting
• Neatly stitch around the perimeter of the design
• Draw threads to the wrong side of the fabric and secure

Uses – Fused appliqué is a quick and easy decorative technique used to create interest and focal points in textile items. Applique is often used for clothing and children’s toys and books.
Limitations – Fused appliqué works best with medium weight fabric and it is limited in its use with sheer fabric as they aren’t sturdy enough, and thick fabrics become too bulky and difficult to sew. Another limitation is that the chosen fabric must be able to withstand ironing and heat.

Embroidery
Counted Thread Embroidery – where stitches are formed over precise numbers of warp and weft yarns in the fabric.
Free form Embroidery – where stitches flow freely over the surface of the fabric, creating patterns in any direction
Machine Embroidery – where the sewing machine is used to create embroidered designs

Hand Embroidery
Equipment and Materials – Embroidery hoop, embroidery needle, embroidery cotton, embroidery scissors
Process –

• Cut fabric to desired size
• Place and secure fabric in embroidery hoop
• Tie a small knot at the end of embroidery cotton to secure on wrong side of the fabric
• When stitching, make sure the tail of the knot is caught by stitches on the wrong side to keep the back of the design neat, to avoid getting knots

There are unlimited patterns, designs and stitches that can be sewn from the traditional and established stitches and those that you invent yourself. Some of the well known stitches are stem stitch, herringbone stitch, long and short stitch, satin stitch, back stitch, blanket stitch and chain stitch.
Uses – Hand embroidery is used to create original and individualized designs to embellish all sorts of textile items. It can be used on nearly all fabrics and there are an unlimited number of techniques and stitches that can be used on clothing, accessories and haberdashery.
Limitations – Hand embroidery is time consuming and delicate. Due to this, mass production is limited and it requires a lot of concentration. Steady hands are necessary and the wrong side of the fabric must be neat to avoid causing knots. Identical designs are difficult to produce.

Computerised Machine Embroidery
Equipment and Materials – Bernina computerized sewing machine and hoop, Bernina Artista computer program, computer bobbin, bobbin case, different coloured cotton threads, calico, stitch and tear, Bernina Artista instruction manual
Process –

• Use computer program and select a design or create your own
• Thread machine with desired colours
• Cut calico and stitch ad tear to a square slightly larger than hoop size
• Put calico and stitch and tear into hoop and tighten
• Attach hoop to machine
• Send design from computer to machine
• Start the machine and following the machines prompts, trim backstitch thread and change colour
• When design is completed, remove from machine and hoop, cut joining threads with embroidery scissors
• Remove stitch and tear of desired

Uses – Computerised machine embroidery is a new technology, which allows for the decoration of a range of fabric and designs to provide a neat and professional design. Computerised machine embroidery can produce an unlimited number of designs and allows for creativity and personalization of designs. It is often neater to use a computerized sewing machine that free motion or hand embroidery.
Limitations – Tension often causes a problem with computerized sewing machine embroidery when using sheer fabric or metallic threads. It may take a few practices to achieve the correct tension. Occassionally, the thread reel comes off the machine and needs to be put back in place. These few limitations are easily dealt with.

Influence of Culture on Design

• Investigate and analyse the influence of ONE culture on contemporary design

JAPAN

• Textile production and textile art forms

Textiles provide an interesting and revealing vantage point to look at any society.  This is particularly the case with Japanese textiles.  Beginning in the early modern era when Japan increased its urbanization, textiles became a badge of social status.  Because of their closeness to the human body in clothes and other uses, textiles show by their motif, color and garment shape much about Japan and its culture.  In addition, they send messages as to an individual’s age, rank, gender, social, political and religious affiliation.  In Japan they also often denoted an individual’s occupation, special function and association with special groups.
This is the case throughout Japanese history but is perhaps even more apt during the Edo period when economic, commercial and social conditions created levels of change that made textiles and clothing an even more important form of social identification.  Many of the criteria and some of the forms and designs of the eighteenth and nineteenth century can still be seen to this day.  For example, a preference for natural materials, a preference for traditional decorating techniques and as if a subtle defiance to the dwindling interest in wearing the kimono – the enduring status of the yukata.  Textiles continue to this day to demonstrate their commercial uses of demonstrating a shops main activities.  This can be seen in the present usage of noren (doorway curtain) and advertising banners.
Textile Arts – kimono, obi, fukasa (wall hanging), byobu (folding room dividers),

Fibres and Fabrics – cotton, silk, yukata, brocade, kasuri, shibori, shibori habori, chirimen crepe, obi brocade

Textiles Decoration

• Stitched Shibori: stitching as a way of resisting the dye.

Unique effects obtained with Shibori are created by the type of stitch, whether or not the cloth is folded, and the arrangement of the stitches. After stitching the piece is complete, the cloth is drawn into tight gathers along the stitched threads and secured by knotting. It is then dyed. The cloth between the gathers is largely protected from the dye.

• Bound Shibori: Designs are created by drawing up portions of cloth and binding each shape with thread. The nature of the binding process limits itself to circular patterns.
• Embroidery

Dyes

• Aizome: Indigo Dyeing. Indigo dyeing techniques include tie dyeing and paste resist dyeing. Yukata fabric is dyed with indigo. This fabric is used for the summer kimono. The patterns on Yukata are achieved by applying paste to both sides of the fabric through a stencil (yuzen dyeing). Finished Yukata motif are in blue and white and include dots, checks, birds, flowers, landscapes and komon designs. Today, Yukata fabrics are used for summer garments. Heavier fabrics can be yukata dyed – they are used for farmer’s clothes, curtains, quilt covers.
• Yuzen: Multicoloured paste resist dyeing. Yuzen developed around 1700 in the Edo period. The Edo period was a time of creativity and local governments encouraged product development and industries. This was a period of flamboyance in dress. Yuzen is often combined with other decorative techniques. Designs are often symbolic motifs used to reflect special occasion, social class or age.

• Textiles as a medium for self expression and communication between people

Colour combinations are important, certain colours and designs are used to represent the season. The main colours used are red, white, indigo and blue. The Japanese believe that people should be one with nature and their designs were influenced by designs from nature. Symbols were cranes (unity), Dragon (strength), Mandarin duck (marital fidelity), tortoise (longevity), bamboo/pine (endurance), plum (hope), fern (wish for prosperity).
The Shinto religion influenced textiles and the kimono was hence decorated with seasonal natural pictures. Shinto is a mixture of ancestor and nature worship.
Religions in Japan include; Shintoism, Buddhism and Christianity.
For New Years festivals people dress in fine kimono and for Setsuban people wear brightly coloured kimonos to drive out evil spirits and bring in good ones.
For weddings, they have elaborate, colourful furisode kimonos over pastel kimonos with a tasseled fan tucked into the obi. For funerals, a kimono is worn with a family crest worn with a wide obi.
Hierarchical court rank system used colour to communicate rank.
Status was equated with size – bulk was created by multilayered clothing to communicate status.
Large sleeves were a sign of affluence because only rich people could afford extra material.
Family crests were used on belongings to express individuality.
Different ways of tying the obi were used to communicate the wearers age and status.
Furisode is worn by unmarried girls.

• Effects of the culture on textile design in contemporary society

Today, it is common to see an obi used for interior design as a table runner, cut to desired lengths and used for cushion covers and wall hangings.
Shashiko is a form of Japanese quilting which is still used today for quilt covers, wall hangings and cushions.
Furoshiki is a square wrapping of cloth which gifts or objects are placed in - can be used in contemporary society as table centre pieces, table cloths, placemats, cushion covers etc.
Wrap around tops or dresses are currently in fashion, and while the waist tie might be significant smaller than the obi, the wrap around design has been inspired by the kimono.
The very common dressing gown is also kimono inspired.
Cherry blossom decorations were commonly used by the Japanese and can now be seen in contemporary society with designers such as Akira Isogawa.
Miyake Issei is a contemporary designer known under his label name if Issey Miyake. Born in Hiroshima, Miyake is known for his unconventional designs and reinterpretations of traditional textile designs in various modern materials.

• External factors that have influenced textile design

Communication and Trade – During the Edo period Japan introduced a closed door policy and there was limited contact with Western culture. This enabled the Japanese to develop a unique style of dress and decorative techniques.
Communication through a diverse range of media reveals new ideas, and travel allows people to encounter the arts of other cultures.
Historical contact of other countries - In the past Japan was influenced by neighboring countries and traded with China and Korea. Silk, brocades, fabric decoration technique and multilayering of clothing was inspired by China. China influenced their costume, loose upper garment and baggy trousers which over the years developed into the kimono style that is present today.
Populations which were originally isolated from one another, are now more than ever exposed to a variety of influences from cultures all over the world.
Religion – The Buddhism religion was adopted from China and Korea and the symbols of nature are used on Japanese fabrics.
Contact with Western countries – As Japan began to recover from World War II, western style of dress began to be adopted as it was associated with modernity and progress.
World economy – 1930s depression impacted on the international price of raw silk and other fibres used in kimono production

• Cultural influences, including geographic location, technological development, resources available, religious practices, workers’ skills and status

Geographic Location – Situated off the pacific coast of the Asian continent, Japan consists of four main islands. It is located near China and Korea and both of these countries have influenced clothing, textiles designs, weaving and fabric decoration techniques. It is believed that the Kimono evolved from Chinese coats around 300BC, and that multi-layering in Japanese clothing evolved from the Chinese tradition of multi-layering. The climate influences the clothing – the Yukata is an unlined summer kimono, and winter kimonos are lined and padded). The landform of Japan has been a source of inspiration for many designs – the Japanese have respect for nature and designs often reflect this with patterns and decorations on textiles depicting the many qualities of nature.
Technological Development – Today, Japan is one of the greatest industrial powers and has a high degree of technological advancement. Television, computers, the internet and fashion magazines have great influence of fabric decoration techniques and fashion. Natural dyes are being replaced by synthetic dyes – brighter colours and more variation. Natural fibres are being replaced by synthetic fibres – they can imitate natural fibres. Work previously done by hand (hand embroidery) can now be done by machine (machine embroidery). Stencil printing is also being replaced by silk screen printing. Japan is one of the major manufacturers of microchips.
Resources Available – In the past, natural fibres such as hemp and ramie were used. The Japanese spun and wove silk and natural dyes were used. Today, some natural resources have been replaced with synthetics. Chemical dyes are used because they give brighter colours. Synthetic fibres are used and are sometimes blended with natural fibres to enhance properties. Silk is cultivated for the use of textiles. Manufacture of silks is expensive and it is exported. Japan has a variety of different resources but they are limited in quantity and quality and consequently do not supply the countries needs. Japan imports cotton and wool, raw material such as cotton, flax and wool are imported due to improvements in transportation and foreign trade.
Religious Practices and Traditions – Religions in Japan include: Shintoism, Buddhism and Christianity. The Shinto religion, a mixture of ancestor and nature worship, influenced textiles and the kimono was hence decorated with seasonal natural pictures.
*see textiles as a medium for self expression and communication between people
Skills and Status of the Textile Worker – In the past, complicated and elaborate techniques were used to decorate kimonos. Because designs were symbolic and an expression of the Japanese way of life, the textile worker needed an understanding and feeling for the designs. Today, much of the traditional manual weaving and fabric decoration techniques have been replaced with new technology. Even though workers must be trained in this technology, it does not require the skill of traditional techniques. There are some craftsmen that still carry out traditional techniques.

Contemporary Designers

• Factors that determine the success or failure of designers:

 

• undertake an investigation of at least ONE contemporary designer, analyzing the designer’s influence on current trends

AKIRA ISOGAWA

Description of Designs
Isogawa's clothes draw on a variety of inspirations, notably his experiences growing up in Japan.
He translates fabrics into soft and romantic silhouettes, using natural fabrics like silk and cottons, which are kind to the skin. Richly embellished fabrics echo Eastern influences and he has great respect for their traditions. Inspiration can be found from the past- re using vintage textiles incorporated with specific craftsmanship. “Timeless beauty and femininity in my design is profound, in a way for the wearer to express their inner soul.” – Akira Isogawa
Target Market
Akira commercial label concentrates on women’s fashion but he has also worked as a costume designer for the Sydney Dance Company.

• external factors, including economic, political, social, ecological and technological

 

Economic – general economy will influence the designer. In Australia, the value of the AUD affects imports and exports. A low value of the AUD is a benefit to Akira Isogawa as it is cheaper for his target market of overseas tourists and overseas importers. Many of his customers are from overseas keen to buy authentic Japanese inspired clothing. The worldwide coverage offered by Australian Fashion Week allowed Akira Isogawa to showcase his work and buyers attending the shows extended the potential for export sale immensely. Introduction of GST which increased inflation and decreased demand in the economy affects Akira Isogawa and his products as they will be more expensive to the consumer and all the materials and services used in their production.
Political – Governments can assist designers by establishing grants and imposing tariffs on imported goods. Government incentives aim to keep designers like Akira manufacturing here rather than fully offshore. Akira Isogawa’s business has been helped by government initiatives. He has used Trade Start to expand his business overseas. Trade start is a national network of export assistance offices in partnership between Austrade and a range of local private and public sector organizations throughout Australia. Relationships between countries can affect imports, exports and production rates. If governments impose sanctions on another country, trade between the countries is affected. This could ultimately affect the supply of raw materials or the export trade used by Akira Isogawa. Trade agreements between Australia and other countries can affect Akira Isogawa – he can profit from trade ties through increased jobs and spending power of consumers.
Social – Textile product reflect the trends within society. Being a multicultural society, Australia’s fashion reflects a global nature of cultural influences and inspirations. Akira Isogawa responds to social trends and the attitudes of groups within society and this is reflected in his designs. He expresses the Japanese culture using a range of mediums in textiles and fashion. His use of layered, embellished designs reflects society’s demand for creative, innovative designs.
Ecological – Akira Isogawa is aware of consumer’s demands for ecologically friendly products and uses environmentally friendly materials and processes where possible. He uses fabrics that are influenced by Japanese culture in his designs and most of these consist of natural fibres, cotton and silk. These fabrics are decorated using fabric decoration techniques of painting and silk designs.
Technological – Internet allows Akira Isogawa to be more accessible to buy, browse or publicise, creating a global network which allows him to expand to suit his needs. He is aware of how technological developments in fibre, yarn, fabric, dyeing and manufacturing will affect his product in terms of quality, price and time. Investing in new technology is expensive, although wages, time and end production can justify it. Computer technology enables Akira Isogawa to visualize ideas, make changes, crate variations and store final designs. CAD and CAM have greatly increased the speed in which Akira can get his garments into the marketplace.

• internal factors, including expertise, facilities and financial

 

Expertise – Akira Isogawa possesses an innate ability for creative design and a sense of what people want. He is from a diverse background and has a range of expertise. Akira Isogawa runs his own business and therefore has the relevant business knowledge to ensure his label is successful. He is qualified in fashion design and has specialized knowledge and skills in textiles having studied fashion design at East Sydney College and The National Art School. He has the ability to design creatively, innovatively and meet consumer demands. He is also able to use and understand materials and technology effectively whilst understanding government legislation to the industry. In addition, completion of additional courses to add to his qualifications and expertise can be helpful.
Facilities – Over the past 25 years of his fashion designing, Akira has built a pool of about 20 fabric designers that he uses. He sews some of the clothing himself, but as the business has grown, he now sub contracts the sewing to several local clothing manufacturers and individuals. Akira ensures that working conditions are safe and that Workplace regulations are respected. Technology and computerization of machinery are now more efficient meaning fewer employees are needed. Technology needs to be up to date and a good cash flow is needed. The facilities available to Akira Isogawa are crucial to his success. An important factor in the success of Akira is having reliable sources of all the materials and services that are required to produce his designs. To minimize the cost of production, he has his products made up overseas in countries where labour is cheaper.
Financial Resources – When Akira first moved to Australia, he paid his way through design school working as a waiter. After saving enough money, he eventually opened his own small store and studio. This was the beginning of his international empire. Now, with his growing success he must take many financial aspects into consideration if he is to remain successful. By outsourcing and subcontracting, Akira keeps prices competitive and maintains appropriate stock levels. He is able to successfully operate a functional business with wages, rent, materials, production costs and marketing. The product lifecycle of a garment need to be taken into account – short term trend needs to be expensive so it will earn a return before going out of fashion, long term trend can be cheaper as designer can still make a profit due to consumer loyalty and larger market share.

• Changing trends in society that influence:
• apparel designers – Akira Isogawa

 

Relationship between designer and current trends
Societies growing interest in ethnic cultures and their traditions and clothing influence Akira Isogawa’s designs and affect his popularity in the industry. His style is accepted within society as unique, original and somewhat traditional. The growing popularity of celebrities influence Akira Isogawa by promoting more elaborate designs and creating interest and appeal of these fashions to the general public. With the consumer earning more disposable income in today’s society, people are able to afford more elaborate, expensive clothing. Akira Isogawa is constantly exposed to influences from various aspects of the society in which he works. Subsequently, this impacts upon his work. Akira takes inspiration from everything that surrounds him. This includes:

• Nature – provides an endless variety of ideas in colour, pattern and shape. This can be seen in Akira’s designs, particularly the use of plants and flowers as themes in his designs.
• Historical periods – Akira Isogawa will often look to the past to gain inspiration for new designs, incorporating features from past trends into his designs. He highly values original, one of a kind creations and this is reflected in his fashion designs which are unique to his style.
• Culture – Akira Isogawa looks to features and points of styling found in ethnic designs for inspiration, adapting and incorporating them into his work. Isogawa’s particular design sensibility draws upon the costume and textile traditions of his Japanese heritage and reinterprets them according to the more relaxed influences of Australian attitudes and environment.
• Events – Celebrity promoting events such as award shows are the perfect opportunity for Akira Isogawa to showcase his work to the general public by sponsoring celebrities to wear their designs. Events such as these also allow Akira to observe the designs of others which ultimately influence his.
• Trends in Art Forms – sculpture, painting, architecture, music and film also inspire new trends.
• Developments in Textiles – New fibres, yarns, fabrics and finishes stimulate the development of new styles in Akira’s designs.

Designers Influence on Current Trends
Akira Isogawa’s success is a source of inspiration for many designers.
His success allows new designers to realize they can succeed with a lot of time and effort
Isogawa’s use of Japanese designs has inspired non-Japanese designers to experiment with these fabrics and incorporate them into their designs.
These designers include some of today’s famous names such as Issey Miyake, Kenzo and Hanae Mori.
The collective works of the ‘mode Japonaise’ movement have made a big impact on contemporary fashion. Their use of inventive shapes and monochrome tones, particularly the use of black, shook the industry.
These days, its street fashion that is leading the way and young Japanese are as hip as their contemporaries anywhere in the world, influencing other designers and other countries trends. But the established designers still play a big part in setting the trends for world fashion.