BODY - FORM - WEAVE Investigating objects as alternative weaving looms to challenge traditional form of weave with focus on up-cycling - BA ...
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BODY - FORM - WEAVE
Investigating objects as alternative weaving looms to challenge
traditional form of weave with focus on up-cycling
BA Fashion Design
Märta Wallgren
Supervisor: Karin Peterson
Report number: 2021.3.07
Look Book
Degree Project Märta Wallgren
BA Fashion 2021
EXAMPLE 1
Degree Project Märta Wallgren
BA Fashion 2021
EXAMPLE 1
Degree Project Märta Wallgren
BA Fashion 2021
EXAMPLE 2
Degree Project Märta Wallgren
BA Fashion 2021
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EXAMPLE 3
Degree Project Märta Wallgren
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Degree Project Märta Wallgren
BA Fashion 2021
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EXAMPLE 5Degree Project Märta Wallgren
BA Fashion 2021
EXAMPLE 5Degree Project Märta Wallgren
BA Fashion 2021
Abstract
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.
Key words: Weave, Fashion, re-make, alternative looms, crafts
4Degree Project Märta Wallgren
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Table of contents
BODY - FORM - WEAVE 3
Abstract 4
Table of contents 5
1. Introduction to the field 6
Weaving 6
Development of weave 6
Waste materials 7
Upcycling 7
Weave in relation to garments 7
Summary 8
1.2 State of the Art 9
Radicalsloyd 9
Anton Alvarez 9
Lauren DiCioccio 2015 10
Mannequin Loom 2015 10
Karolina Centeno Norberg 2018 11
1.3 Aim 11
1.4 Motive and Idea 12
2. Method 13
2.1 Design method in general 13
2.2 Practical Method 14
2.3 Design rationale 15
3. Result 16
3.1 Design Experiment/Development 16
Example 1 16
Example 2 19
Example 3 22
Example 4 26
Example 5 30
3.2 Design Examples 34
3.3 Tech pack 39
4. Discussion 44
5. References 46
Appendix 48Degree Project Märta Wallgren
BA Fashion 2021
1. Introduction to the field
This project investigates the relationship between material, form and body with focus on the action of
making. By investigating handweaving and the possibilities to create material and form
simultaneously the work strives to challenge the traditional form of weave by using alternative
weaving 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 be
presented.
Weaving
Weaving is one of the oldest craft techniques dating back to 7000 BC (Nationalencyklopedin) with the
basic 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 crossing
each other in different ways creating different structures and patterns. There is a great variety of
weaving 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 make
different types of textiles with different uses such as: carpets, tapestry, interior design and most
relevant 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 work
pushes boundaries between crafts and arts and contains a broad form and material investigation that
made 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 and
three-dimensional textiles and has played a great role in the development of weave going from
two-dimensional tapestry-making into three-dimensional fiber art (Gottesman 2016).
Development of weave
The development of weaving in relation to the development of the way we cut clothes has a clear
connection throughout our history (Tarrant, 1994). When fabrics were woven by hand the time
consuming technique made fabrics a high value material and clothes were often cut so that no material
was wasted. Instead garments were made from the full width of the cloth and pieces of fabric were
added to create shape (Tarrant, 1994). As the loom developed from vertical to horizontal it enabled a
faster production of fabric. When the horizontal loom was introduced in Europe about AD 1000
longer and wider fabrics could be produced and changes in dress were to be seen as a direct
consequence (Rissanen, 2013). During the industrial revolution the development of more efficient
weaving looms and the innovation of the sewing machine led to a shift from tailored garment
producing less waste to ready-made or mass produced ones (Tarrant, 1994; Rissanen, 2013). The
textile industry developing during the 1800s has continued to grow and is today one of the largest
industries in the world.
6Degree Project Märta Wallgren
BA Fashion 2021
Waste materials
The way we produce and consume textiles and clothing today are far from sustainable. The fast
fashion 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 environmental
impact of the textile industry have been published all stating the same conclusion: we need to change
the system.
The environmental impact is to be found in all stages of production. From farmers growing the fibers
using 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 of
the 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 Textiles
Economy: Redesigning Fashion’s Future” from Ellen MacArthur Foundation 2017 some garments are
discarded after just seven to ten wears.
The increasing demand for newly produced textile products in combination with the short use of the
same, does not only make the industry one of the most polluting and resource-intensive industries in
the 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 all
clothing 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 products
such as insulation material, mattress stuffing, industrial rags and blankets. (Sandin, G. & Peters, G.
M., 2018)
Upcycling
One way to address the environmental issue within the field and to recycle materials is through
upcycling. Compared to downcycling where materials are turned into low value products, upcycling is
a 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 garments
Within 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 sewn
together into a three dimensional garment. In other words, to make a two dimensional fabric become a
three dimensional form, made to fit the body. Within knitwear, on the other hand, it is possible to
make whole garment construction because of the knits inherent ability to create material and shape
simultaneously. Fully-fashioned is a method where pattern pieces are knitted into preferable shape and
then 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 to
make seamless wholegarment construction. One example is the SWG (Shima Seiki
WHOLEGARMENT®) 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 the
technique was an important development for the industrial production of knitwear (Landahl, 2015).
7Degree Project Märta Wallgren
BA Fashion 2021
A-POC (a piece of cloth) is another groundbreaking innovation developed 1997 by the designer Issey
Miyake and textile engineer Dai Fujiwara. A special warp knitting technique made it possible to make
garments directly within the making of the fabric (figure 2).The garments are later on cut out from the
cloth 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 not
been explored to the same extent. Although there are examples of similar technology whitin weaving
called DPOL (Direct Pattern on Loom) a technique where pattern pieces are woven directly into its
shape, used by the Indian company August (Rissanen, 2013).
Summary
The use of traditional 2D garment construction to create 3D shape makes a distinction between the
creation of the woven cloth and the development of form. In this work the idea is to create form and
material in and as a simultaneous action to question the way clothing is usually made and to push the
development of crafts. A three dimensional hand weaving technique will be used to investigate the
possibilities of creating woven shapes that can be related to the body. In the following part a variety of
artists and designers that have questioning conventions and ways to approach 3D-weaving will be
presented. In combination with the introduction, their work will lay as a foundation for this study.
8Degree Project Märta Wallgren
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1.2 State of the Art
Radicalsloyd
The Swedish artist Anders Jakobsen also known as
LAGOMBRA, is known for his bold and controversial design.
By assembling different objects and material without much
thought on how the end result will look like (or function) he
creates furniture, sculptures and clothing (figure 2).
With a focus on the action of making he made up his own way of
working that can be described as radical-sloyd. In an interview in
Hemslöjden 2012 he describes how he let the material and
process take him to unknown places and the final expression is a
direct consequence of the making. There is no given way or given
plan, Jacobsen works freely and intuitively and his work is a
perfect balance between boldness and honesty, amateurism and
craftsmanship.
The way Jacobsen works gives an interesting suggestion of how
to challenge traditional ways of making and how to develop
methods within crafts. Within this study a similar radical mindset
will be used to challenge the form of weave.
Anton Alvarez
Anton Alvarez is known for his Thread Wrapping Machine 2014,
his own designed tool that can join different materials by
wrapping them in a glue-coated thread. The machine makes it
possible to assemble all kinds of materials into larger shapes and
by varying the colors and type of threads the techniche creates
beautiful patterns on the final objects (Figure 3).
Based on knowledge from traditional craftsmanship Alvarez's
work focuses a lot on how innovative technology and advanced
tools help him push the boundaries and expression in crafts. The
work is an investigation into methods where the tools he creates
for himself are as much a part of his work as the finished objects.
The thread wrapping machine makes it possible to develop an old
craft technique into a new area of use with the result being
colorful, unconventional and surprising sculptural objects and
architecture (Alvarez). The way the work challenges the process
of cut and assemble within furniture design is interesting in
relation to the work that will be explored in this study.
Figure 4, The Thread Wrapping Machine by Anton Alvarez
9Degree Project Märta Wallgren
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Lauren DiCioccio 2015
Lauren DiCioccio is an artist who creates sculptures by covering
objects using different textile techniques. One of the sculptures
from
a series called Familiars, is made from colorful strips of fabric
handwoven around a bendable ventilation pipe (figure 6).
DiCioccio starts by assembling different objects into a form and
then she weaves around it. Her work gives suggestions on how to
work with a three dimensional weaving technique from a more
artistic approach and how the base structure or the “loom” affects
the shape.
The sculpture shows an interesting relationship between material
and form and a similar method will be used in this work to reach
the aim to challenge the traditional form of weave.
Mannequin Loom 2015
Jacqueline Lefferts work, the Mannequin Loom from 2015,
questions the relationship between woven fabrics and garment
design and why these two are seen as separate parts in the making
of a garment. By creating her own tool, a loom shaped as a
mannequin (figure 7), Lefferts investigates the possibilities to
weave a whole garment without cut and sew (Lefferts, 2015). Her
intention with the work is to question the way designers blindly
accept the tools they are used to working with, hindering them
from developing new designs. What is interesting is that even
though Lefferts work gives suggestions on how to push the
technique she does not challenge the shape of dress, nor the way
to approach the body. The garments are divided into horizontal
and vertical lines similar to classic pattern construction (Figure
8). In this work the aim is to challenge the technique further by
investigating objects as alternative looms not related to the body
to reveal new shapes.
10Degree Project Märta Wallgren
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Karolina Centeno Norberg 2018
In her graduate collection from 2018 Karolina Cento Norberg
investigated the possibilities to use hand weaving as a technique
for making three dimensional garment construction. Her work
focused on the relation between the material and garment and
how these two were created simultaneously. In a self made frame
she was able to weave in crossing directions and conducted her
work without cutting or sewing. Centeno Norbergs work shows
the great potential of weaving as a method to create shape and
garments (Centeno Norberg, 2018).
The outfits are made of strips of fabric that are woven together
with a basic weave structure. The strips are linked with a simple
knot and by using different fabrics, materials and color Centeno
Norberg creates both patterns and shades into the garments
(figure 9).
What has not been considered when it comes to material choices
is the sustainability aspect from a material point of view. In this
study the aim is to work with a similar approach to weaving,
creating a three dimensional weaving but with focus on how to
combine this
technique with upcycling of textile waste.
1.3 Aim
Investigate bodies, objects and other as alternative weaving looms to challenge
the traditional form of weave with a focus on up-cycling
11Degree Project Märta Wallgren
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1.4 Motive and Idea
There are two main motives for this work. Primarily the work argues the importance to maintain and
develop craft techniques and secondly to give suggestions of how to address the environmental
problems within the industry.
The work strives 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.
As mentioned before, the method of cut and sew makes a distinction between the creation of the
woven cloth and the development of form (Rissanen, 2013). In this work the idea is to create form and
material in and as a simultaneous action to question the way clothing is usually made and to push the
development of crafts.
In her licentiate thesis, Reversed Crafting, Karin Peterson writes about the problems of using “[a]n
ancient method and a craftsmanship, cut and assemble [...] originally developed through and for low
volume bespoke making [...] within a capitalist system dependent on high turn around
manufacturing”. Peterson inquires for new tools and argues that “if we consider these systems of dress
and textile manufacturing to be unsustainable, perhaps it may be of concern to address this through
physical investigations“.
Her work raises questions regarding how old ways of manufacturing still are affecting the way we are
working 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 a
garment 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 and
material in the design process by questioning the silhouette and garment types as driving forces when
designing. Even though her study concerns knitwear the discussion is relevant when it comes to
weaving as well.
In the previous chapter works by both Centeno Norberg and Lefferts were presented and showed
interesting results of the possibilities within 3D hand weaving. But even though both Centeno
Norberg and Lefferts are using new, own designed tools to push the technique, the outcome and form
of dress are similar to garments we know. The weave is conducted in such a way that the garments
and body are divided in a classical way similar to classical garment construction. In this project
3D-weaving will be used in investigation of not only the human body but of other bodies and objects
to 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 focus
on form and with a clearer approach to sustainability the work aims to challenge conventions, push
boundaries and hit the limit of weave.
12Degree Project Märta Wallgren
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2. Method
2.1 Design method in general
In Research in art and design, Chrisoffer Frayling discusses the role of research within the field of art
and 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 the
data will be collected through the process of making. The work will be conducted through a
practice-led design research. Where the action of making will be the method to collect knowledge and
data. The process of “thinking through making” is a way to understand and learn about the world
argued by Tim Ingold In his book Making. Anthropology, Archaeology, Art and Architecture. Ingold
describes the “thinking through making in which sentient practitioners and active materials
continually answer to, or 'correspond', with one another in the generation of form.” To further describe
the 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 used
to map the design work and help designers to follow their line of thought throughout the process. The
model is not suggesting to go through these steps in a linear process. Instead the outcome benefits
from alternating between the different phases. The model is divided into four parts:
Discovery - the research part were all information about the
problem or possibility are gathered
Definition - the data collected in the previous step are elaborated
and a clearer definition of the problem and context are decided.
Development - the practical design process begins to find
solutions to the problem. In this part the design experiment will
take place.
Delivery - testing the solutions and evaluating how well they
fulfill the purpose. In this step improvements of the product are
done.
Within this work the double diamond method will be used to understand when and how to make
decisions based on where in the process of the four stages the project is. The experiments are based on
practical 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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BA Fashion 2021
Sourcing and investigation of objects and materials: Objects were collected and materials were
collected 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 Method
In order to develop potential suggestions of how to challenge the traditional form of weave the need
for a practical method to gain ideas and physical examples was crucial. The practical method was
based on previous work made during the artistic development course. The experiment was conducted
through a series of experiments where different objects were investigated as alternative weaving
looms. The practical method is positioned in the second diamond phase and the focus will be on
developing 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 loom
2. Conducting a weave around or within the chosen object
3. Investigation of the woven shape in relation to the human body
The objects
Objects are used as the main tool to create shape and are the starting point in the creative process. The
objects act as looms and are the supportive structure required to conduct a weave. The objects are
chosen by the criteria of having a three dimensional shape and a scale that relates to the body.
The weave
The weave is the connecting structure in this project. It is firstly a material and the surface that
communicates shape and color to the viewer. It will constitute the physical part of the work. Iit also
functions as a documentation of the act of making. It contains information about the work and thought
that was put in.
The body
In this project the human body is used as a tool to understand the woven shapes. The supportive
structure that holds them up. The goal is not necessarily to make shapes that fit the body and its needs
but that somehow relates to the body. By viewing the relationship between the body and the shape
differently 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 objects
The 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 body
part or the whole body. A table, a chair, a hoolahoop ring and a swim tube are all made to fit or
interact with the body. Although this was not a criteria the selection consisted of objects with a
function related to the human body. This type of objects seemed to be easy to handle and work with
since I already had a relation to them. However, the method can be applied to all kinds of objects. The
most important criteria when selecting: Take what you have at hand.
Materials
The materials used in the work are all sourced from second hand stores or from post consumer waste
streams. Both garments and interior fabrics were used in the making of fabric strips. Sorting the
clothes and fabric by color was a tool for collecting the materials. However, properties of the textiles
also became important when sourcing as the project progressed. In the first experiment the warp and
the weft were containing the same material but later on contrasting yarns and material was tried out to
create another expression. Both in color, pattern and in the texture.
Weave structure
All the examples were done using plain weave structure. It is the most basic structure where the
threads are interlocked in an even phase. Some of the weft yarns used in the experiment were thick
and therefore the plain weave was seen as the most successful structure due to the fact that it connects
the weft threads between every warp thread, creating a strong structure.
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3. Result
3.1 Design Experiment/Development
The examples below are all made from the same practical method but along the process new
knowledge was gained and put into the next experiment. The experiments are thus a chain of
experiments and line of thought.
Example 1
Loom:
- 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 scissors
2. Connect the two rings and place them on the wall
3. Add stripes of fabric around the object in a chosen direction: creating the warp
4. Continuously weave stripes of fabric into the warp
5. Release the weave from the loom and documents its shape
6. Place the weave on the body, try different placements
7. 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 yarns
were woven into the warp from the middle and out. The weave was placed on the body and new warp yarns
were attached to fit the body.
To finish the weaving process the big circle was removed. The released weave was easier to handle and made it
possible 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 warp
thread from the front was connected to the back piece. As the weave was released from the loom it collapsed
and 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 during
the 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 the
loom and when it was released led to a decision to put the ring back in the dress. This was to give the look a
stronger expression and to let the weiver understand the shape and its origin.
The ring was put back into the dress. To finish the look more
weft yarn was added and the warp yarn was twisted around
the ring to cover it.
The finished look
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Example 2
Loom: 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 scissors
2. 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 direction
4. Release the weave from the loom and documents its shape
5. Place the weave on the body, try different placements
6. 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 conducted
around a cube. The weave was placed on the body in different ways and openings for the arm and head were done by pulling
warp threads apart to create a hole. A challenge was to avoid putting the shape on classical parts of the body that refer to
garment 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 troso
seemed to work. To complete the look a decision was made to continue weaving on cube shapes but the outcome was not
found successful due to the lack of shape. To further develop the look, fast sketches were done giving suggestions on how to
finish the look. Some of the warp threads were hanging out from the cube and a decision was made to attach more yarns
around 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 3
Loom:
- 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 stripes
2. Attach the ring and the wooden frame on opposite sides of the table
3. Wrap the elastic bands around the table from the two points
4. Continuously weave stripes of fabric into the warp from the center and out
5. Release the weave from the loom and documents its shape
6. 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 was
used to cut the fabrics apart. The machines that are usually used to put fabrics together got a new purpose in this work and
by 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 run
between.
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 was
to 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 frame
different 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 to
a 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 4
Loom:
- 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 stripes
2. Attach the ring and the wooden frame on opposite sides of the table
3. Wrap the elastic bands around the table from the two points
4. Continuously weave stripes of fabric into the warp from the center and out
5. Release the weave from the loom and documents its shape
6. 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 the
object the material had a certain tension but when it was released it softened and almost collapsed. This was due to the
heaviness of the material and because the supportive structure was removed. It also, to some extent, lost its shape. The
inflatable swimming tube could shift between stiff and soft and a new experiment was conducted around a swing ring with
that principle in mind.
The knowledge from the experiment with the swimming tube example led to a new experiment with swimming tubes but
with 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 fitted
well 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.
27Degree Project Märta Wallgren
BA Fashion 2021
The shape is placed on the body and creates volume. Here the tube is half way filled with air creating a heaviness to the
object.
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.
28Degree Project Märta Wallgren
BA Fashion 2021
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 was
discussed as something that did not fulfill the aim of the work and therefore a change in the silhouette was
needed.
To finish the look the weft yarn
was used as shoulder straps to
hold the shape in place. The ring
inside the weave was also
deflated to create a more relaxed
shape. This was a way for the
look to be less connected to the
swim ring and to have its own
shape that could interact with the
body in a smoother and dynamic
way.
29Degree Project Märta Wallgren
BA Fashion 2021
Example 5
Loom:
- 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 stripes
2. Attach the ring and the wooden frame on opposite sides of the table
3. Wrap the elastic bands around the table from the two points
4. Continuously weave stripes of fabric into the warp from the center and out
5. Release the weave from the loom and documents its shape
6. 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 material
created 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.
30Degree Project Märta Wallgren
BA Fashion 2021
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.
31Degree Project Märta Wallgren
BA Fashion 2021
Final placement on body.
Further development of the look
The 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 sure
that 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.
32Degree Project Märta Wallgren
BA Fashion 2021
Line up
First edition
Final lineup
333.2 Design Examples Example 1
EXAMPLE 2
EXAMPLE 3
EXAMPLE 4
EXAMPLE 5
Degree Project Märta Wallgren
BA Fashion 2021
3.3 Tech pack
Model name: Red cube dress
Description: Hand woven maxi-dress with long fringes.
Front Back
39Degree Project Märta Wallgren
BA Fashion 2021
The Weave Process
Measurement:
A: 42 cm
B: 40 cm
C: 42 cm
Step 1:
The warp yarn is wrapped around
the cube anti-clockwise. 40 turns.
Step 2:
The yarn is woven into the warp at
the sides and creates the warp on
the top of the cube.
Step 3:
The Third layer of yarn is woven
into the sides and the top creating
the finished weave.
40Degree Project Märta Wallgren
BA Fashion 2021
Details
Openings:
The warp and weft yarns in the
top corner of the cube shape are
pulled apart creating an opening
for the head and the right arm.
The threads are not removed or
cut, just gently pulled aside.
Fringes:
The fringes are attached in the
hemline of the cube.
41Degree Project Märta Wallgren
BA Fashion 2021
Materials
Stripes of jersey fabric
Width of stripes: 3 cm
Flax yarn
Colors
Weave structure
Plain weave
42Degree Project Märta Wallgren
BA 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
43Degree Project Märta Wallgren
BA Fashion 2021
4. Discussion
The aim of his work was to challenge the traditional form of weave by investigating objects as
alternative weaving looms. By focusing on the action of making a number of experiments were
conducted through an investigation of the relationship between form, weave and the body. The
investigation 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 is
finished. When is a form becoming a garment and how do we create new garments without always
comparing them to what we already know as garment. An explanation for this uncertainty could be
found in the very method of the work. Different objects were the main tool when creating form. The
fact that these objects were not made for this purpose can be questioned. In some of the examples the
shape of the weave still reminded of the objects and could be an explanation of why it was difficult to
define it as a garment or just an object/form placed on a body. However, in some examples the object
did help to reveal new shapes that were easier to read as garments. In those cases the method was
successful and the outcome was a unique garment unable to be created on a traditional loom. To use
everyday objects as a tool and arguing that it can be a method to develop new ways of making clothes
is perhaps radical. However, the investigation opens up discussions about our view on tools and the
use of unconventional ones.
The physical results of this study may not be proposed to be worn in an every-day-context due to
material and form. However, the final expression could start discussions about craft and our relation to
it. From a designers point of view the result shows how the method and the use of objects could be a
tool 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 a
variety of surface expressions going from smooth and compact weave in the red look to a thicker and
rough weave in the beige and green looks. The work has shown the potential of creating 3d form but
what can be argued as lacking is a profound research into the very weave structure. In all the design
examples plain weave has been used. A broader research into other weaving structures may have
given a wider investigation in relation to the aim.
The work has been conducted with a clear approach to sustainability. The material in the collection is
all collected from second hand stores and waste streams. The project shows the potential of the
method 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 a
sustainable future.
44Degree Project Märta Wallgren
BA Fashion 2021
Visual discussion - in technical and associative terms
45Degree Project Märta Wallgren
BA 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 dimensional
garment construction. Kandidatuppsats, Akademin för textil, teknik och ekonomi. Borås: Högskolan i
Borås. 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 Park
Borås. 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 design
and 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
46Degree Project Märta Wallgren
BA 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]
47Degree Project Märta Wallgren
BA Fashion 2021
Appendix
Student 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 to
make a new placement of the looks in relation to each other cloud make a more dynamic composition
of 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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