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  • 1.
    Peterson, Karin
    University of Borås, Faculty of Textiles, Engineering and Business.
    Reversed Crafting2020Licentiate thesis, monograph (Other academic)
    Abstract [en]

    Reversed Crafting is an inquiry that aims to investigate alternative methods of form giving and manufacturing and their aesthetic consequence for dress. It is a practice-led venture that explores alternative materials and mediums through digital and analogue tools, rethinking what dress can be if not relying on currently dominant processes of form-giving and production. Its context is the interdependent relationship of cut and assemble as a method for artistic practice and as a system for manufacturing. Historically developed as a method and a craftsmanship for bespoke, on-demand production, cut and assemble is regarded by many as unsuited for industrial manufacturing, often directed by a high turnaround capitalist system. As an industry it is often described as unsustainable, both in regards to environmental and social challenges. Currently, the field is experiencing an influx of 3D digital tools, both directed at final production and form giving. Often arguing a democratisation of both design and manufacturing, the integration of 3D digital tools to the field are highly anticipated. However, commonly migrated from other disciplines, these methods are often merged with cut and assemble, rather than investigated as holistic and real alternatives. In relation to digital manufacturing, the perceived absence of suitable materials for the final artefact is far more debated then what to produce when these materials inevitably become ready at hand. Arguably, these methods of digital manufacturing, the technical how, has a plethora of real or speculated solutions. Nevertheless, the question of what, through an aesthetic reasoning, these techniques can suggest or enable as examples of dress are often less considered. Therefore, the work presented in this licenciate wish to speculate on  aesthetic consequences of dress through physical investigations neither commencing, nor ending with the cut and assemble of textile on roll. It proposes the notion of reversed crafting as a way of thinking in order to facilitate the making of dress in a future system where craft knowledge is foremost required at the initial stages of interpreting and developing what is being produced rather than at the actual stage of production.

  • 2.
    Peterson, Karin
    University of Borås, Faculty of Textiles, Engineering and Business.
    Reversed Crafting: Searching for holistic alternatives to cut and assemble 2019Other (Refereed)
    Abstract [en]

    Reversed crafting is a practice-led investigation of alternative ways of doing and thinking within a field where cut and assemble is perceived as the dominant method for artistic expression. Addressing form giving and crafting of surfaces as a simultaneous act of making propose questions that can not be answered through cut and assemble. Not only an artistic method for crafting dress, cut and assemble is a system for industrial manufacturing, or material hyper consumption. The production of textiles and their use in garment production stands for one of the most complicated chains in todays manufacturing industry. With its appetite for burning fossil fuels it is linked to the knowledge that human activities have changed the functioning of the earth system, introducing the age of the Anthropcene.

    Employing an estimated 60 million people globally, nearly three quarters of the work force are female and the conditions of the labourer are often atrocious. This makes evident that cut and assemble as a system for industrial manufacturing is unsustainable and in order to re-think these systems of manufacturing, there is an acute need to re-think what is manufactured and how this what comes into being.

    The field of dress is currently experiencing an influx of 3D digital tools, both in regards to final assembly and form giving. Commonly migrated from other disciplines, these methods are often merged with cut and assemble, rather than investigated as holistic and real alternatives. If eliminating the relation to cut and assemble, these emerging 3D digital techniques can aid autonomous investigations of form giving and surface crafting as a simultaneous action in dress.

    This practice-led research formulates and proposes methods of reversed crafting, addressing suggestions that digital manufacturing requires front-end craft knowledge where craft and designerly ways of thinking is reversed within the process of dress. Through physical examples mimicking processes commonly found in the fields of glass and ceramics, it abandons cut and assemble as the artistic method of form giving. Exploring moulding, 3D digital techniques and analogue tools in collaboration with material alternatives to that of fabric on roll, the work allows for the modelling of holistic methods of dress and the speculation of future systems of manufacturing.

  • 3.
    Peterson, Karin
    University of Borås, Faculty of Textiles, Engineering and Business.
    Tacit Cad2015Conference paper (Other (popular science, discussion, etc.))
  • 4.
    Peterson, Karin
    University of Borås, Faculty of Textiles, Engineering and Business.
    Tacit CAD2015Other (Other (popular science, discussion, etc.))
  • 5.
    Peterson, Karin
    et al.
    University of Borås, Faculty of Textiles, Engineering and Business.
    Talman, Riikka
    University of Borås, Faculty of Textiles, Engineering and Business.
    Merging Formable Textileas and Flexible Moulds: In search of new design methods and expressive qualities in the fields of textile and fashion.2018Conference paper (Other academic)
  • 6.
    Peterson, Karin ()
    University of Borås, Faculty of Textiles, Engineering and Business.
    Talman, Riikka
    University of Borås, Faculty of Textiles, Engineering and Business.
    Weaving Form, Forming Weave: Submitted as an exhibition proposal under the track ‘Critical Textiles’2019Artistic output (Refereed)
    Abstract [en]

    The traditional method of cut and assemble in garment making is accused of disregarding the importance of the materiality of textiles, and the three dimensionality of our body. Our joint venture aims to address this gap by investigating the expressive possibilities of woven textiles with inherent form-giving qualities in conjunction with garment moulds, similar to Miyake’s self-forming weaves (Howarth 2014) and Brown’s ideas on the relationship between form and surface (Brown 2013). Changes in texture, size and shape of the textile and the placement of openings for limbs inform the shape of the mould and the placement of the textile on the mould. 

    Likewise, the form of the mould informs the shape of the garment through the textile’s ability for change. This allows for close communication between textile and form as both are developed in conjunction, from initial sketch through to final garment. The moulds are obtained using a method of ‘reversed crafting’, mimicking processes found in glass and ceramics where the space between body is addressed whilst treating form giving and crafting of surfaces as a simultaneous act of doing and thinking. Formability is embedded in Jacquard woven multi-layered fabrics through combining heat reactive shrinking yarns with stable base materials. Stops and seams are added in the fabric while weaving, creating a raw shape for the garment. 

    The results are presented as 4-6 form experiments in scale 1:4, arrived at in collaboration with material, body and digital and analogue tools. Process images illustrate the relationship between the weave and the mould in the form giving processes of dress. Together, we suggest a renewed focus on the tangible materiality of textiles when forming garments in interplay with the three dimensional form. Further, the work proposes alternative methods for design making and thinking at the intersection of textile and fashion design.

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