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  • 1.
    McQuillan, Holly
    University of Borås, Faculty of Textiles, Engineering and Business.
    Hybrid zero waste design practices.: Zero waste pattern for composite garment weaving and its implications2019Conference paper (Refereed)
    Abstract [en]

    This practice-based design research explores methods of eliminating textile waste through utilising zero waste pattern cutting to expand the outcomes possible through composite garment weaving and speculates as to the implications for the wider industry and society. Employing a hermeneutic phenomenological approach, I tested known strategies in the context of industry and responded with new emergent strategies to the challenges that arose. The findings that emerged from the iterative design practice, and surrounding discussions and reflections, inform the experimental design work that follows. It is this experimental ‘future-making’ that is the focus of this paper, which outlines foundational pattern cutting theory and methods for an emerging field – composite garment weaving – as well as findings relating to the impact and use of technology in the fashion industry while bringing into sharp relief the inherent conflicts that exist within the fashion system.

  • 2.
    McQuillan, Holly
    University of Borås, Faculty of Textiles, Engineering and Business.
    Waste, so What?: A reflection on waste and the role of designers in a circular economy.2019In: Nordic Design Research Journal., 2019, Vol. 8Conference paper (Refereed)
    Abstract [en]

    This paper discusses research currently being undertaken which addresses the interrelated volume, value and cost of waste and the responsibility designers have in their creation. The paper beginning by outlining the contemporary waste problem (in the fashion industry). Then utilizing observations made during recent field tests - where waste reduction and elimination were applied to existing designs - the impact that explicit and implicit design hierarchies and complexity have on waste minimization attempts are discussed. Questions such as: is waste a problem in the context of proposed circular economy models? After all, if we have a circular economy, then any waste we make can be put back into the cycle. So, will the CE let designers (and industry) off the hook? Lastly, I speculate as to what a fashion industry without waste might look like, discussing my design response to the issues raised.

  • 3.
    McQuillan, Holly
    University of Borås, Faculty of Textiles, Engineering and Business.
    Zero Waste Design Thinking2019Licentiate thesis, comprehensive summary (Other academic)
    Abstract [en]

    The fashion system is contributing to the environmental and social crises on an ever increasing scale. The industry must transform in order to situate itself within the environmental and social limits proposed by economist Kate Raworth, and the 17 sustainable development goals set out by the United Nations. This research explored methods of eliminating textile waste through utilising zero waste pattern cutting to expand the outcomes possible within industrial contexts and speculates as to the implications for the wider industry and society. Employing an experimental and phenomenological approach, this thesis outlines the testing of known strategies in the context of industry and responds with new emergent strategies to the challenges that arose. A series of interviews were conducted with designers who have applied zero-waste fashion design in an industry context – both large and small scale – to unpack the strategies used and contextualise the difficulties faced. The findings that emerged from the iterative design practice and the experience of working within the field tests inform the surrounding discussions and reflections. This reflection brings into sharp relief the inherent conflicts that exist within the fashion system and has led to the development of a series of theoretical models.The implications for design and industry are broad. Firstly that while this thesis outlines garment design strategies, and broader – company-wide – approaches that can work to reduce waste in a given context, this research finds that a holistic transformation of the internal design and management processes of the industry is required for them to be successful. In response, theoretical models have been developed which seek to articulate the constraints, roles and actions of design within broader company practices, while contextualising these within the economic system it operates. It is clear that reducing waste will only have a minor positive effect on the environmental outcomes unless we also reduce consumption of raw materials through reducing yield or reducing consumption – ideally both. These findings and models point towards a necessary recalibration of the industry as a whole – small changes are not enough as the existing methods, processes and ethos are deeply embedded, and its agents are resistant to change. The results concur with previous research and conclude that a fundamental shift in thinking is required – one that prioritises a different set of constraints to those the industry and society currently focus on – in order to make the rapid and meaningful change necessary.

  • 4.
    McQuillan, Holly
    et al.
    University of Borås, Faculty of Textiles, Engineering and Business.
    Archer, Jen
    Massey University.
    Menzies, Greta
    Massey University.
    Bailey, Jo
    Massey Univeristy.
    Kane, Karl
    Massey University.
    Fox, Emma
    Massey University.
    Make/Use:: A System for Open Source, User-Modifiable, Zero Waste Fashion Practice2018In: Fashion Practice: the journal of design, creative process & the fashion industry, ISSN 1756-9370, E-ISSN 1756-9389, Vol. 10, no 1, p. 7-33Article in journal (Refereed)
    Abstract [en]

    This paper discusses Make/Use, a multi-disciplinary research project exploring “User Modifiable Zero Waste Fashion”. In particular, it addresses the use of textile print and a parametric matrix to facilitate the cognitive and creative processes involved in the transformation from two-dimensional (2D) to three-dimensional (3D) form. The Make/Use project centers on the development and testing of an embedded navigational system by which users can formulate a functional understanding of the form and construction of a garment and its opportunities for manipulation. It questions how the encoding of navigational clues and markers into a garment might aid in its facility for creation and modification by the user, aiming to enhance emotional investment and connection, and extending its functional life by providing embedded opportunities for alteration and visible repair.

  • 5.
    McQuillan, Holly
    et al.
    University of Borås, Faculty of Textiles, Engineering and Business.
    Rissanen, Timo
    Parsons School of Design.
    Mind-Body-Garment-Cloth2020In: Crafting Anatomies: The Body as Site in Fashion and Textile Research Practice / [ed] Katherine Townsend, Rhian Solomon, Amanda Briggs-Goode, Bloomsbury Academic, 2020Chapter in book (Refereed)
    Abstract [en]

    As our understanding of fashion and sustainability broadens beyond quantified accounts of supply chains and material use, the fashion system requires an expanded, holistic understanding of the fabricated body and mind, and how design may contribute to their formation. In this chapter we weave connections between mind, body, garment and cloth, beginning with our practice in zero waste fashion design, in relation to industry and user. We then examine these ideas in relation to radical craft practitioners such as the Friends of Light collective and Yoshiyuki Minami of Manonik, both of whom employ hand-weaving to create three-dimensional garments with minimal waste, while intentionally and explicitly giving value to the meditative aspect of the ancient yet modern craft. We contrast these practices with those of avant garde fashion designers Rickard Lindqvist of Atacac and Gabi Asfour of Threeasfour, whose garments may produce fabric waste but whose practices seem to be underpinned by a holistic embracing of the body in their designed garments. The chapter asks questions about the presence and absence of mind-body connections in contemporary fashion design practice, and the roles of technology, weaving and cutting, framed as crafts, in facilitating these connections.

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