The term “Organic” is often used when discussing Fashion design. It can refer to subjects such as the fibers of the material, the way a garment is constructed, or the expression of an artwork. This collection investigates what an organic expression can look like by working with knit, print, and collage. The materials are based on photos that showcase potentially organic objects which are digitally collaged into artworks that are printed or knitted. To get an understanding of how the prints and knits should be placed and combined, the materials are cut and draped on a body or a mannequin. At last, the fabrics are collaged in Photoshop to finalize a sketch that can be constructed into combinatory outfits. The result is a collection that shows organic shapes, structures, and toned-down colors.

A personal investigation regarding how two different cultural perspectives coexist presented as an inverted identity with the means of dress. Through time and space has fashion always embodied our social behaviour, changing, adapting and becoming the future. Coexisting with culture, diffusing or enhancing hierarchies with archetypes. Works with contrasting perspectives within fashion design has proven to be diverse but few discuss the dynamics and effect within the same visual frame. The method investigates if figure and ground space can become an alternative appliance to enable different perspectives to be visualised and communicated inform of garments. Becoming a frame for the recipe in order to subject two garment groups to claim space/form under the supremacy of coexistence in one outfit. Furthermore does the practical exercise of the method exist of tracing silhouette of western/european archetypical garments with spray paint. Thereupon is the stencil of figure space cut out, leaving the ground space to be investigated with latinamerican archetypes in relation to the body. The contours becomes guidelines for where the meetings between archetypes are being set. Investigations of color, pattern, texture, and detail from each garment group are trialed with these silhouettes as well, in order to enhance the spatial relation between each archetype. Perception deals with our way of seeing, therefore with two different cultural archetypes under the effect of figure and ground space opens a perspective and a possibility to switch the dominance between these archetypes. Thus the design method may give the beholder the possibility to view both garment groups under the same conditions, or at the very least reflect over the perspective that one have.

This work places itself in the field of textile design, weaving and exploring the design of changeable expressions in textiles. The intention of this work is to design three textiles that interact with the environment in outdoor spaces to achieve changeable expressions. Weaving is chosen as a technique because of the possibility to achieve different qualities in the same piece of fabric. The material, structure and density in the weave determine the interaction between the textile and the external factors, such as wind and light. The parameters make the various parts of the textile react in different ways, for example, the looser the threads are attached in the weave, the more they move in the wind. The interaction between the surroundings and the material causes the textile to change expression in terms of color, pattern, and transparency. The textiles provide an interactive element to an outside space, where it can be used as either a decorative piece of with a functional purpose as room dividers. The project opens up to utilize the textile responsiveness to external forces in design, to create dynamic textiles which change in appearence.

This degree work delved into the intersections of fashion and art, specifically focusing on creating wearable knitted sculptures. For this, the presented project considered the idea of designing spatially, without a human body as a reference, by shaping knitted forms inside a scaffolding. The exploration began with an in-depth investigation of knitting to identify different form expressions through merging and manipulating traditional knitting techniques such as plain, transfer, and partial knitting. Three knitted wearable sculptures were developed based on the knitting experiments by creating stripes on the knitting in a fully fashioned way. Further on, these wearable sculptures underwent various steps of development, such as sculpting, draping, and surface modification. 

This work places itself within the field of textile design and atmospheric design. The primary motive is to integrate and broaden the two fields by developing design proposals in textile design. The aim is to explore how to change the atmosphere of a space through the use of fabric manipulations, surface patterns, colours, light and shadow. The design method consisted of material explorations, light and shadow experiments, design of surface patterns, heat transfer print and pleating techniques. Colours were tested in combination with lights. The result is a collection of three textile dividers of space that by the impact of light change the current atmosphere in public spaces, and by doing so, the perception and mood are changed. The value of this work is to show design potentials for new expressional possibilities, a new approach to merge the fields of textile design and atmospheric design.

In this project a collection of clothes, based on the raggar culture has been developed. e work is intended to be a modernization of the clothing, exploring the subculture and developing it, however without loosing its attitude. In uences from other related subcultures have also taken part in the work.

The aim is to investigate the technique of spray painting directly on garments, as a method for developing prints, taking visual inspiration from the culture of raggare. Sources for inspiration to the painting have been gra ti, airbrush and action painters. In order to keep the attitude of the raggar culture, the collection is largely based on vintage clothing, linked to the culture in question. e result in this project is a collection containing eight out ts, dedicated mainly to raggare but also to others.

Textile Hybrids explores knitted textiles by challenging properties of elasticity and flexibility through yarn composition, technical construction and combinations with wood. This study is placed in the field of textile spatial design and suggests experimental ways to explore three-dimensionality in a knitted textile by changing its properties through material synergies. The outcome is a three piece series of modular three-dimensional, standalone textile objects. The construction, assembly and flexibility of each piece make it possible to separate all components for reassembly, recycling or reusing, suggesting further research possibilities into more tangible contexts within textile spatial design, architecture, furniture design and product design. This study is derived from an interest to explore different ways a textile can exist on its own in a spatial context such as the home, without solely being the material covering a load-bearing framework i.e a couch or a chair.

This collection is an investigation of how decorative techniques and non-decorative text can create a dialogue in garments, with the body as a billboard. The work is based on two different aspects. The first one deals with the question of how people look at embellishments, and the second is the message aspect. The investigation wants to find out how we can communicate with the human body as a billboard and the topic of the communication is an idea about perfection. The writer’s dyslexia experiences are used as a recurs and gives the topic a new dimension. The work explores new ways to deal with embellishments, techniques and messages. It shows that the statement T-shirt is not the only perfect garment to decorate and that garments can communicate a message in more ways than with a flat print.

LUX studies the combination of electronics and knitted textiles from a textile design perspective. The thought of experiencing textiles without touching them sparked the idea of designing textiles where touch is essential for the visual appearance. The aim is to design knitted textiles that light up when touched, in order to create an interactive experience for the viewer. Optical fibres were chosen because of their ability to transmit light and copper yarn works as an electrical conductor that triggers the reaction of light. The shapes of the knitted textiles have been created by utilising the characteristics of the optical fibre. LUX introduces a working method in which the optical fibre is given an important role not only as a light source but also as a tool for shaping the textiles. The result of the work is three textiles that display how electronics, consisting of sensors and light, can be merged with textiles and contribute to interactive behaviour.

Due to its three-dimensional, elastic and flexible properties the weft-knitted technique is especially functional within the realm of performance textiles. Within the knit one can create flexible and movement-specific structures fitting to the body without waste material. A capability which is valuable when creating costumes for dance performances. However, it is seldom that the material is the focus of the performance and even more so, that the material is equal to the dancer. This project aims to explore the intra-active relationship between knitted textiles and human, by designing flexible three-dimensional textiles with high kinetic and visual agency. A perspective that enables the designer to create new performative expressions together with the dancer. This exploration is conducted through technical and material explorations where the kinetic and visual potential of different knitted structures are developed. The intra-active potential is evaluated and developed through collaboration with a dancer. The three knitted structures with high kinetic and visual potential, are intra-acted with by a dancer in a filmed performance. This synergy of human and material is valuable as it is the result of a collaborative design process, where the material is the directing force both in the textile process as well as the dancer’s process. A result of a more homogeneous design process where human and material listens to each other, but also where different disciplines exchanges knowledge and perspectives in an intra-active relationship.

’Point of view’ is an investigation of changeable surface patterns in the textile design field. The investigation is performed in order to get a deeper understanding of the relationship between changeable surface patterns and three-dimensional contexts to explore alternative methods.  The aim is to design surface patterns in a three dimensional context developed through printing and layering techniques, and to explore how the patterns change depending on the observer’s perspective. Practice based design experiments were carried out to explore materials and printing techniques such as transfer, digital and burn out. The patterns were in turn placed on a cubic frame with inner and outer layers, and studied for their effects on one another.  The project resulted in a series of surface patterns that were applied in a spatial context. The findings propose an alternative method for designing changeable surface patterns in a three-dimensional setting, using layers, transparency and distance as factors.

This degree work in textile design positions itself in the textile- and surface pattern design field by investigating the interpretation of the translation from traditional to contemporary. The motive is to apply a sustainable aspect to surface pattern design by “recycling” traditional and cultural patterns into renewed contemporary expressions. The aim is to design a collection of contemporary surface patterns by exploring and interpreting traditionally common patterns, such as curbits and folklore painting. Modern printing techniques, new technology and materials have been used in the investigation. Three suggestions for a contemporary surface pattern collection have been developed. A repeated pattern that has been laser engraved and colored on acrylic plexiglass, a mirrored pattern that has been digital printed, coated, and cut to reveal the tabletop, and a large-scale placed pattern that has been transfer printed in three layers to enable for a color-mixing-effect. This project contributes to reinforce the knowledge of traditional craftsmanship and establish a new legacy that can serve as both a link to pattern history and as an archive of today. The project desires to influence how a sustainable approach to “recycling” traditional or cultural images and motifs can be used to design new surface patterns.

This is (Not) a Textile is a surface pattern design project made with tools from motion design. The aim is to bring textile design into a new digital context, and explore how crossing these two fields can help to develop a new method of designing dynamically changing print. The process begins with hand sketching using automatic drawing methods inspired by surrealism. Then, the pattern elements are animated and constructed in the Adobe After Effects program using multiple layers of compositions. The result is a collection of animated patterns that each express a unique quality of digital changeability: building pattern layers, shifting light and color, and moving tessellation. In the future, designs like these may be applied to the real world with the help of augmented reality technology. In addition to influencing how design in the textile field can be reformulated with digital processes, this project pushes the boundaries of what textiles are and how they can be communicated and transformed through digital technology.

Photography is an important element within fashion design that helps fashion designers document the process, capture bodily movements, and demonstrate the outcomes when presenting. This work has used photography as a sketching brush through the long-exposure technique to ideate the diversity of colors, transparencies, and abstract bodies. The outcomes were a visual resource of light trails with different colors, and shapes. These were used as inspirations for new surface- and texture expressions like heat-transfer printing and embroidery, transparency experiments, and layers. The results are five design samples that illustrated different solutions for combining color, layer, clarity, different texture expressions, and abstract silhouettes while using the long-exposure photography technique as the primary sketching method, in various hierarchy orders. Consequently, this method can become a new contribution to fashion design as a new design method and design approach. 

This investigation is centred on suggesting a new wardrobe concept of convertible hybrid garments; 2-in-1 designs. The proposed work is in other words, build on the transformative merging of one garment type to another. Through this intertwining, these become two parts of a whole, distorted to fit together in an upside-down position on the body. This alternative approach to garment creation, not only challenges the fundamental relationship between clothing, pattern making, and the body, but also aims to suggest the potential of implementing ‘reverse engineering’ methods, as a backdrop for the contemporary and versatile deconstruction. This work is foremost motivated by a sense of social and sustainable contribution to the field of fashion. Evoked by the prospect of encouraging interaction and providing the wearer more options on how to wear clothing, by proposing designs not fixed to one outcome. Hence, given the versatility of these hybrids, this project also advocates having fewer items of clothing, to bring about a more sustainable alternative to mass consumption.

"Revealing Ribs": a project exploring the intersection between ribbed textiles and three-dimensional forms. "Revealing Ribs" is a project that delves into ribbed textiles and their potential to contain and transform patterns when they interact with three-dimensional forms. The project aims to unravel the intricate dynamics between ribbed textiles and three-dimensional forms, enabling a deeper understanding of their synergistic potential. By pushing the boundaries of traditional textile design, "Revealing Ribs" offers an opportunity to expand the horizons of incorporating surface patterns into knitted textiles for interior applications. It opens new creative possibilities and allows textile designers to explore the symbiotic relationship between fabric and form. This project has proposed three ribbed textiles through careful experimentation and craftsmanship, each enclosing different three-dimensional objects. By exploring how these materials can contain patterns that undergo captivating transformations when intertwined with various forms, "Revealing Ribs" shows the interplay between textiles and form. The significance of this project lies in its potential to expand the use of ribbed textiles as a medium for dynamic pattern expression in interior design contexts. 

Oscar of Sweden brottas med ineffektiva flöden i sin försörjningskedja som innehåller långa ledtider vilket drabbar deras e-handel på ett negativt sätt. Om tiden från det att en varumärkesägare investerar pengar i material tills dess att slutprodukterna når marknaden är för lång resulterar det i oönskade effekter i form av bundet kapital vilket har en negativ effekt på företagets kassaflöde.  Studien syftar till att analysera en försörjningskedjas värdeflöden inom mode och konfektion, det med hjälp av bland annat en värdeflödeskartläggning för att hitta eventuella brister och komma med förbättringsförslag med avsikt att effektivisera värdeflödena i en försörjningskedja.  För att åstadkomma en förbättrad e-handel med hjälp av effektivare flöden är synlighet i försörjningskedjan med hjälp av informationsdelning en viktig faktor. Realtidsuppdateringar på lagersaldon är en typ av informationsdelning som skulle underlätta beslutsfattanden i försörjningskedjan.   Att reducera leverantörsbasen för att knyta starkare band med de som återstår möjliggör förbättrad leveranssäkerhet, kortare leveranstider och kan skapa högre förtroende. Slutsatserna visar att Oscar nyta starkare band med de som återstår möjliggör förbättrad leveranssäkerhet, kortare leveranstider och kan skapa högre förtroende. Slutsatserna visar att Oscar of Sweden till sist kan reducera ledtiden och minska sina lagernivåer utan att försämra kundservicenivån och på så sätt förbättra sitt kassaflöde och sälja mer skjortor.  

This work explores hand weaving in fashion design and aims to develop this technique into a three dimensional garment construction. With focus on the immediate relation between fabric and garment, these two variables are created at the same time, resulting in hand weaved garments with no cutting and sewing. The collection is conducted in a self made frame, which is the central artifact in order to make this method work. In this frame, the main focus has been to develop a garment construction that works on body, also focusing in finding right materials that works with each other. Another importance is the choice of colours, in that sense that it should enhance the technique without taking over the final visual expression. This work propose a new way of weaving clothes. Whilst the act of weaving in already made garment has been investigated by other designer, this project propose a method for a three dimensional garment construction. Therefore this work is to be seen as a suggestion of a new method of constructing garments within hand weaving. The result opens up for the instant relation between fabric and garment in one single process. It propose a new way of creating clothes without the cut and sewing.

The motivation for this MA work is based on the challenge to the preconception of hand-tufting through material, colour and light. When imagining a rug, a very specific image appears in our mind. Some details of that image could vary from person to person, but what is almost certain, dense and heavy, probably made out of wool, woven textile will pop up in front of our eyes.

This work suggests a possibility of creating new expressions in design by the material driven approach. The investigation was led by practice based research including set up of experiments, experimental work and evaluation complementing the whole process. The exploration proved that qualities of monofilament yarn have a great ability to enhance colours as well as add certain kind of lightness to the hand-tufted piece. Furthermore, due to the transparency of monofilament yarn an interplay between the loops and the backing was possible, opening up for changes in colour perception.

The outcome of the research is collection of woven and hand-tufted textiles contributing to the field of textiles by bringing new qualities to the hand-tufting technique.

This study examines how to make trend fashion based ready-to-wear apparels with no fabric waste in the cutting phase through geometric pattern-making. To work with sustainability through geometrical pattern-making in construction, within the context of commercial fashion. The fashion industry is one of the world's top polluters. Several million tonnes of textile ends up in landfills all over the world every year, landfills are overwhelmed and that has a great impact on the environment. The purpose of this study is to investigate how the method of geometric pattern making can have a commercial value in sustainability. How it can bring benefits within fashion design to become more sustainable, and thus help tackle issues in relation to fabric waste in garment production. Significantly, the project discusses if there can be a way of making commercial clothes more sustainable through geometric pattern-making so no fabric is wasted when it is being cut. The work proposes potential solutions and expressions through this chosen methodology.

This degree work places itself in the field of textile design, more specific surface pattern design, interaction and textile objects. The aim of this work is to experiment with playfulness within textile design, developed through surface structures, form and changeable patterns. In order to create interaction between the pieces and the observer, where the textile objects within the pieces can be moved around to build or disassemble a pattern. The methods of design and construction were transfer printing, after treatments, pattern construction and sewing. Foam was used as a filling material to create volume and to keep a suitable soft textile feel in each piece. After treatments such as foil and flock print were used in order to create another level of interaction within the surface’s tactility. The result of this project is three different textile objects printed with surface patterns that are interchangeable, interactive and that can be used in a playful context. ‘PUZZLED’ engages the participant to play and experience amusement. These works have the potential to be developed further into interior design and in learning contexts for children.

In terms of dress, there are various misconceptions that exist in our ever-so conscious society, which can make Easterners in the Occident neglect aesthetics that are linked to their roots. Orientalist notions of the Middle East and its complex history of conflict have both played their part in developing a cultural disconnection between the East and the Western world. This area of investigation explores the recontextualization of a selection of original and cultural elements from the Levant and Arabian Peninsula by the means of construction within men’s suits, thobes and accompanying traditional attire. The work implies to challenge the Western world’s dominant influence on fashion, where it becomes crucial to assert cultural aspects linked to facts and aesthetic value. What could be deemed as lacking in fashion is an intricate appropriation of Levantine and Arabian elements in relation to shape, proportion and material. In this exploration, it is executed through placing the selected components alongside Westerly ‘reserved’ categories such as the exaggerated shoulder pad, where each action is influenced by the outcome of the previous. The result can be described as a convergence between expressions that are culturally polarizing, which can reinvent the narrative of Westerly misperceived dress and symbols that are both ubiquitous and preserved in the transcultural region.

This project in textile design is exploring the interpretation of digital photos into jacquard woven textiles, focusing on how texture and colour can alter the perception of the underlying image. The defamiliarization of everyday scenes through the use of material, texture and colour invites the viewer to engage and decipher the image. A series of four pictorial weaves makes it possible to explore the interaction of photograph and textile in four different ways: Piece one has a smooth reflective surface and low contrast, which creates a dream-like effect over a breakfast table. Piece two is an oversaturated and distorted colour version of a domestic scene, mimicking how phone camera software sometimes treats images. Piece three shows objects and food on a table but adds fluffy and shiny textures, which has a defamiliarizing effect and highlights the textile material. Piece four focuses on material and texures, which abstracts the image even further. During the design process a sketching method was developed to layer the colours of the woven piece onto the photograph. This includes weaving a colour palette, scanning it and creating swatch libraries for Adobe Photoshop that are placed in the photograph and makes it possible to sketch digitally and minimize material sampling. The resulting textiles show how a photograph of an everyday scene can be distorted through weaving and textiles, creating tension between the “normal scene” and its abstraction. This project invites to discuss the relationship to digital photography and demonstrates a way of bringing it back from the cloud storages to the material world. The interpretation into woven textiles gives a value and context.

The core of the study is embedded in its title, referring to textile waste and apparel. In line with the increased post-consumer waste in our landfills, there are serval ways of targeting sustainable fashion. This work, therefore, aims to focus on handcrafted clothing using mainly low-valued cotton waste, for the creation of textile surfaces. Additionally, with inspiration from the traditional papermaking technique, where textile waste is altered into rag paper, this work wishes to emphasize the process of textile making, adapted in a fashion context. Throughout the study, various mimicking techniques were applied to achieve and imitate the surface expression of rag paper. Besides the mimicking methods, garment archetypes were used as guidelines for finding silhouettes and characteristic details. With archetypes as the catalyst for deciding the shape, the main focus was set on exploring the paperlike material. As result, the final collection showcases both experimental and commercial attributes, highlighting the mimicked material. READY-TO-WASTE suggests possibilities for developing textile surfaces with the use of discarded materials to promote sustainable fashion. 

This project explores the features of a dress through two-dimensional imagery. It uses trompe l’oeil techniques to investigate and highlight the qualities of the garment. This proposes new ways to use trompe l’oeil designs and new ways to draw inspiration from an existing garment.

The dress has been studied visually; through looking at it, tracing its shape and through drawing and painting it. The shape of the dress has been studied and developed through pattern construction.

The design elements found in the dress have been expressed and enhanced into new designs. Embellishments and prints are used, to create a refined expression. The project has resulted in a seven outfit collection, where each outfit expresses one or two design element(s) from the inspirational dress.

The collection shows a way to use decorative techniques to express findings in an artistic garment investigation. It also shows a way to draw inspiration from an existing garment to create an independent new design.

In an era marked by increasing international mobility and urbanization, the modern nomad emerges, forsaking the known for the unknown and condensing possessions to the volume of a suitcase. Drawing from Capsule Systems in Architecture and interior design, principles are refined to craft a wardrobe capable of accommodating all necessities within a single suitcase. This project explores minimalist living without compromising on style or self-expression. Transformable garments with elegant silhouettes redefine conventional functional aesthetics, while ways are explored how things can be carried and made packable. A layering system is implemented, featuring a base “Homewear” layer that incorporates objects evoking a sense of home and nostalgia through print designs, enveloping the nomad in comfort. The outer shell comprises functional transformable garments serving as both accessories and clothing. The project results in five examples each of the “Homewear” Layer and the transformable “outer shell” layer. The project suggests a conceptual framework of a minimalistic way of living.

This design project places itself in the field of knit, smart textiles and inclusive design. Knitting is a technique that can create interactive objects, for children with autism that may need support to interact with their surroundings. Therefore, this work sets out to support these individuals, using objects that offer different tactile sensations, to provide focus and calmness. To achieve this, the aim is to design inclusive knitted objects that encourage individuals with autism to interact with knitted forms through stimulating textures, vibration, and colours. Through technical research on Shima Seiki, Dubied and Silver Reed, 3D objects with various bindings are developed to create stimulating textures. Sensors and other electronics are also investigated and integrated, to make the textiles smart. Further investigations are made using surveys with an autism community, to accommodate their needs during the design process. The result of this project is three textile objects that provide two kinds of stimulation. Two pieces which react to touch with vibration, and one object with different tactile textures. As well as knowledge about how to knit forms with textures, and how to insert electronics into knitted structures. It is also how people with autism can be helped by using the objects as tools, to facilitate sensory processing or non-verbal communication, in their everyday life.

Fashion involves more than material garments. It is extended to the settings surrounding it. We wear and dress in more than clothes, we do it in scents and lights, in objects and images. Today, when fashion mostly is consumed in pictures - a representation of the physical garment - there is a need for a shifted view of what fashion design is and potentially can become. This work aims to explore and extend the domain of fashion by using text titles as a catalyst for creative activity and seek to move beyond traditional outlets of fashion. Each title becomes a project in itself. Together they form a collection of products in the widest sense that informs the logics of my practice and pose as a suggestion for an alternative approach to collection making as well as to what contemporary fashion design can incorporate.

This work investigates the potential of using repairing techniques as a method for remake of discarded garments. In more precise the work explores how repair can be a tool for finding new use of existing materials. It is a search for both new approaches to composition and reconstruction of garments and aims not to restore, but to recreate value to unvalued items. The work is based on the method of knowing through making and enhances the chance as a foundation for enabling new expressions in redesign. By incorporating the concept of ‘Redneck repair’ with the tradition of mending garments; a process that commonly requires craftsmanship and patience, new aesthetics to repairs has been developed. Through the act of repairing the work also questions the dominant fast-fashion culture of today, where value to garments seams absent. Instead of looking at garments as final products that lose value if broken or undesired, this work treats garments as a temporary state of material whose value has the potential to evolve, rather than dissolve over time through the act of repair.

The uncanny is a feeling that is closely related to fear and fright but is not quite the same. It is a feeling of unsettling discomfort – that there is something that one does not understand. This project explores the aesthetic of the uncanny through tailoring. By using draping and the inherent body-altering techniques within tailoring this project shows alternative expression within tailoring by distortion of body and garment.

På grund av högre konkurrens och ökat kundkrav krävs mer fokus på effektivitet hos tillverkningsindustrierna för att uppnå bra kvalitet, hög leveransförmåga och flexibilitet på sina produkter. Lean production med tillhörande verktyg och metoder har blivit väletablerat inom västerländsk industri och hjälper företag att systematiskt förbättra deras produktionssystem för att öka de aktiviteter som är av värde för kunden. Syftet med Lean production är att eliminera slöseri som finns inom produktionssystemen, det vill säga de aktiviteterna som är icke-värdeskapande ur kundens synvinkel och som denne inte är villig att betala för. Grunden i ett förbättrat produktionsflöde med reducerad mängd slöseri, ligger i att lära känna och förstå sin egen produktion för att sedan kunna implementera ett lämpligare tillverkningssystem. Studiens referensföretag är globalt och den största snustillverkaren i Skandinavien. Deras mål är att implementera ett dragande Kanban-system för att minska höga lagernivåer, överproduktion, intern transport, onödig väntan och reducera ledtiden för den studerade produktfamiljen. Syftet med studien är att analysera produktfamiljens nulägestillstånd för att upptäcka förbättringsmöjligheter och därmed konstruera ett optimalt framtida tillstånd med Kanban som tillverkningssystem. En väl genomförd förstudie ska bidra till beslutsunderlag som företaget kan använda sig av för framtida förbättringsprojekt. Med hjälp av en värdeflödeskartläggning har möjligheter och brister visualiserats och analyserats, detta för att få ett helhetsperspektiv av hela produktionsflödet. Värdeflödeskartläggningen består av två kartor, den ena representerar det nuvarandet illståndet och den andra det framtida tillståndet. Detta ska skapa en utökad förståelse över syftet för skribenterna och för personalen på Swedish Match. Slutsatsen av studien är att Kanban är ett tillämpbart system för hela produktionsflödet. Införandet av en takttid och en produktion som är baserad på kundefterfrågan kommer att resultera i en reducering av ledtid, ökning av värdeskapande aktiviteter och eliminering avslöseri. Det är däremot viktigt att en så pass stor implementering som Kanban inte forceras fram. Projektet måste ta den tid som krävs för att på bästa sätt uppnå ett optimalt utfall.

With an interest within colour and print this work developed into questioning their lack of function regarding creating or contributing to from. It investigates how to generate form and surface on a body based on houndstooth pattern. The hypothesis is to find methods that increases a prints expressional possibilities and to find a way to create shape from the prints qualities. It concerns the subject how print, colour and materials relate and affect each other depending on for example saturation, quality and scale.

Based on the construction of a woven houndstooth a specific method to generate form have been developed, here called cut-and-weave. The result is performed in 7 outfits where this method is applied in various ways. Together they illustrate, not only that a print can give form by manipulating its construction, but also that a print can be enhanced and reinforced by executing it in different ways.

The following project explores how colored light can be used as a variable to manipulate the perception of a surface pattern. Placing the work within the textile design field, colors are a main factor for the development, it shows that colors’ visual state changes when colored light is inflicted. Taking advantage of the effect, an aim was set to explore the relationship between colored light and colored surface to expand methods of designing dynamic and storytelling surface patterns. This to add a different approach of how patterns can be created with a motion ability. The method used was through experimenting with different color combinations under colored light, observing movement of different color placements combined with motif arrangements and patterns, in order to find a working effect. The outcome are three different surface patterns with a dynamic property, each with its own storytelling aspect narrated by the colored light changing. This contributes to a playful way of creating depth to surface patterns, which can be developed further to different textile areas. 

How can a textile designer design in a sustainable way and with a good conscience, contributing in all aspects, when in theory it is better to not produce at all?

Modular Sustainability is an explorative project in textile design, emphasizing on the importance of sustainability knowledge as a textile designer. The aim of this project is to design sustainable textiles in a spatial context by exploring weaving, alternative dye and finishing methods in combination with a modular assembly to enable material separation. The result consist of three woven textiles suggesting a variation of modular solutions in a spatial context. The study displays how a textile designer can use sustainability as a design method and how that can result in new design decisions and solutions that might not have been a part of the design process otherwise.

This degree work investigates a Chinese ethnic identity in a Swedish social environment by means of translating national and cultural symbols, representing China and Sweden, into colors and materials within garments and accessories.Furthermore, this project demonstrates a transracial adoptee identity journey, through the act of conforming as a reaction to Swedish norms.To conduct the study, personal experiences of being a Chinese, Swedish adoptee have been applied to direct this work. An illustration of a timeline concerns the past and the present stages of a transracial adoptee identity and demonstrates the identity journey in chronological order, divided into five stages. This degree work generates new expressions within the social sustainability field in fashion by showcasing the absurdity to conform to Swedish norms. This work identifies how identity is formed by biological and social factors from a transracial adoptee perspective. This degree work demonstrates the complexity of transracial identity formation, through several layers, and criticizes Swedish norms through dress. It can spread awareness of the anxiety for transracial’s to fit into norms and recognition for those affected by it.

The project Attitude explores how to build silhouettes with sports gear. By taking elements from hip-hop fashion from the 90`s I will interpret a streetwear collection that is high fashion. The sports gear I have chosen is old material from sports shops, hockey associations and second-hand. Presenting the potential of pre-used gear shows an alternative way of creating a new value for the category streetwear fashion. The supply of gear that I have gathered is limiting and directing my decisions. By building the silhouettes with draping as the design method it will form the final outcome. The combination of sports gear and fashion has previously been explored. The collections have shown the functionality of the gear by applying its original placement; In contrast, The project Attitude will show alternative perspectives on how one can use the gear and push sports fashion and its expression. 

With inspiration from Elsa Schiaparelli’s Bowknot sweater, this work investigates the possibilities to create knitted versions of woven archetypes with the aim to reconstruct sartorial attires through abstraction in knit. This is conducted through the exploration of the construction of the suit jacket, with a focus on the layering of fusing to build shape. The work is abstracted based on the gestalt psychology theory of figure-ground with the purpose to play with the viewer’s perception of what is seen. The concept of figure-ground is also further explored within colour. Based on Carlos Cruz Diez theories of colour and the work titled Couleur Additive a study to create the perception of the colour grey is made. The final result is a menswear collection visualised in a virtual form made with the software CLO3D.

This work sets out to explore changeability in woven expressions using optic fibers in an interior context for home environment. The primary motive is to investigate how optic fibers can change the expression of a woven textile through its color and placement in the structure. The work was conducted with a trial and error-method by sketching, weaving samples, etching the optic fibers, and exploring how the fibers changed the expression and properties of the woven textile. Experiments with displaying the textiles in the intended environment were conducted in order to experience the effect of color and expression changeability. With the optic fibers the expressions repurpose weave structures and patterns, connecting them to the craft of weaving. The result is three double woven textiles with two stages each, activated and unactivated. In the activated state, the optic fibers brings new expressions through color and pattern from a white textile, which is the unactivated stage. 

This work places itself in the field of textile design, weaving and interactive objects. It explores how the combination of solid and soft materials in a woven structure affect its flexibility and pliability. By integrating solid materials as a weaving material the work aims to propose an alternative context for woven structures, not necessarily becoming fabrics but rather objects that can be interacted with. The design process consisted of series of workshops where woven samples were made on a hand loom, weaving frame and by hand. The result are three woven structures each of which show of different flexibilities attained through the combination of solid and soft materials. The pieces are meant to be interacted with and can be shaped in various ways by folding, stacking or connecting parts of the structure. Combining solid and soft materials with the weaving technique shows the potential of interactive structures and objects which propose multiple functions, and can be developed further into products for interior design or play.

This report investigates the conventional female silhouette through common assumptions of the body. Moreover, different perspectives of the body and the dressed body is analysed and considere. Conventional pattern construction is based upon these assumptions of the female body. To expand the perspective, an experimental approach is implemented to display new expressions of the female silhouette and define and explore these characteristics through form. The work is conducted by rethinking the conventional female silhouette in terms of volume and composition extracted from traditional cuts in womenswear. Furthermore, to challenge expectations on female silhouette using seams and darts to create concave and convex volumes, to correspond with bodily shapes which then are rearranged in a non traditional composition.

This project uses digital technology to interpret the human body as a malleable material for the development of sculptural and textile-based design. Mikhail Bakhtin’s definition of the grotesque human body lays the conceptual groundwork for using the human body as an interactive tool, that co-shapes itself with digital technology as an extension. The technology has been given agency to affect the creative outcome, rather than treating it as a means to an end. By 3D scanning the designer’s own body, and manipulating photographic documentation of it, through algorithmic interpretations, the morpho- logical transformations of the designer’s body, in multiple realities, were investigated while reflecting on its influence on self-perception. The investigated methods resulted in alternative bodily structures carved in polystyrene, and dressed in hybrid materials of transfer-printed textiles and bio-plastic. The design outcomes suggests a design method wherein agency is given to digital technology which allows for exploring unexpected ways of perceiving the human body. 

This degree work places itself within the field of textile design, with an artistic approach. The motive with this work is to introduce Kente cloth as a textile expression to be developed as a contemporary textile technique. The aim is to explore ways of reinterpreting the West African weaving technique of Kente cloth in combination with the use of recycled toys in order to create contemporary artistic textile designs. The design method consisted of workshops that focused on the deconstruction of the technique and the categorisation of toys. Experimental sketches on the handloom and jacquard machine were produced. The outcome of this design work is a collection of three handwoven artistic textile designs. Toys’’R’’Cloth engages the viewer to produce more sustainable designs by using recycled toys as material reuse. This work and its design method have the potential to be developed further and applied onto other textile techniques.

This degree work places itself in the field of textile design within printing and surface design. The primary motive is to explore methods of designing textural expressions of a non-woven polyester fabric which combine relief and printing techniques in order to design textiles with three-dimensional properties. The work explores possibilities on how to bring an aesthetic expression into a synthetic non-woven inlay fabric by using screen print, sublimation print and relief moulding towards an interior context. The purpose is to take advantage of the technical properties such as expansion, softness and stiffness of a non-woven polyester fabric into the design work. The design method consisted of a material-based pre-study to gain knowledge about non-woven materials and their reactions to heat, moulding possibilities and printing options. Further developments were done through workshops that explored frottage as design inspiration for final designs and gradations with halftones as a colouring method. The outcome of this degree work resulted in a collection of three textile pieces; a wall covering, a room divider and a sound absorber that are seen as prototypes for further development on how to give synthetic non-woven textiles an alternative aesthetic expression.

This degree work places itself in the field of textile design, surface patterns and conceptual design. The aim of the work is to use the human body as a tool for designing conceptual surface patterns onto textiles. The methods of designing were done through practical workshops. Examples of workshops is shadow workshop, motif workshop and pattern workshop. For each workshop appropriate rules was decided based on analizis of preveous workshops. The outcome could be presented as two types of results; firstly, a design method for generating surface patterns, and secondly, heat transfer printed textiles that prove the validity of the method. The work proposes an alternative approach for inspiration to designing surface patterns.

Paper material is in some contexts considered basic and unsophisticated, however designers and artists often approach the well-known material and explore the expressional value of paper craft. This work aims to investigate an alternative process of making dress, by using paper as material to interpret wearing in order to highlight the making process in the result, through the diverse properties of paper sheets and binders.  The series of examples in ‘Paper Wear’ suggests an alternative language in form and expression and the investigation has given a further understanding of dress and the importance of experimental design thinking, as well as a deeper understanding of the role of the human body in dress. The outcome of the investigation creates a tension between a well-known material used in the process of making and the finished result, challenging traditional garment conventions and how garments are perceived in relation to material, function and body. 

The garments we wear are aesthetically and functionally adapted to the context in which they are to be worn, partly to meet the surroundings’ expectations and increase comfort in specific situations. By removing expectations of clothing commitments, clothes can be released and played with freely. This work examines the relationship between two areas that stand far apart from each other both in terms of time, aesthetic, and functional expectations: winter activewear and upper-class renaissance gowns. The work is motivated by the idea of questioning the distinct aesthetic that exists within the field of winter activewear by placing it with an opposite. An opposite as Renaissance dresses with a higher focus on the aesthetic expression than the functional commitment. By extracting elements from the different areas and putting them together in new constellations. The expectations were to find new uses for the actual fundamental delegation of the garments when shape, functions, details, material among others were resituated. The study started with two areas that resulted in a lineup with six looks. They all propose how one could redefine what winter activewear can be and look like by crossing it with another field.

This degree work positions itself in the field of textile design, in the form of a sculptural andarchitectonic installation focusing on tactility. Modern architecture has lost its totality since we live in the hegemony of the vision —excluding tactility, meaning sensation and other senses. The importance of this issue has to do with non-reconciliation with nature when tactility is excluded in architecture. Tactile sensation is important within space, for our consciousness and contact with others. The aim of the work is to design Jacquard woven textiles with haptic (tactile) qualities, that will function as surface on a modular construction. A design process that exclusively involves elements that the eye can perceive, design set in computer programs, results more often in materialism that lack haptic and tactile quality. Deconstructivism demonstrates strained spaces that have reached a peak, and the role of the architectural lane in this study is that it stands as an ultimate representation of the consequense of digital based design. The study was based on the definition of Deconstructivism; such as Modernistic figures that are distorted. Defining words such as disharmony, asymmetry and distortion were targeted. The design process of this degree work consisted of examining modern architecture, to design constructions and patterns, and tactile explorations in the Jacquard weave. Deconstructing Modernistic figures and applying tactile surfaces on a construction gave the result of three different interpretations of tactility within Deconstructivism. The study subsists as textile design in an architectural context, from the perspective of modern architecture and the lack of tactility within contemporary, digital based design. The value of this work is its haptic focal point, existing in an architectural context that has lost its haptic materiality. 

In the field of knitting, the binding weave knitting is mainly used for technical textiles, where the textiles have a high performance require- ment. Weave knit is constructed by placing an inlay thread between the knitting rows in a similar manner as a weft thread in a woven tex- tile. This work sets out to design three-dimensional weave-knitted tex- tiles in combination with intarsia and partial knit with the intention to develop surface pattern on three-dimensional shapes. The material used are effect yarn, monofilament and chenille yarn, which improve the properties of the textile. The three techniques enhance each other by their characteristics and give the possibility of formability. The re- sult shows an installation of textiles with three-dimensional character- istics, meant for spatial contexts which have the ability to function with light. The value of this work lies in the combination of the techniques and the application area in which the work is set.

The fast growing revolution of digital printers has made customized printed textiles easy to come by asanyone can order them online. As a result the use of prints in fashion is more common than ever andthe difficulty to distinguish individuality rises.This degree work has therefore glanced through history to search for new possibilities in the oldtechniques. The discovery is the unexplored potential of light sensitive dyes. A technique borrowedfrom analogue photography and that dates back to the 19th century, yet there is very little trace of itbeing used in the field of fashion. The directness of this technique opens for possibilities to createprints directly onto voluminous and irregular forms without the dye interfering with the materialsqualities. Hence this work is investigating the relation between print and form and by printing directlyonto garments it aims to challenage the hierarchical structure between the two.Can printing directly onto garments create a closer relation between print and form design? Are therepotential expressions in analogue techniques that can’t be achieved digitally? And does it make senseto be analogue in a digital world if it equals individuality? That is what this degree work aims to answeras it takes advantage of the technique’s unique qualities and presents new aesthetic expressions infashion design.

This work places itself in the field of textile design, printed surface patterns and pleating. The primary motive for this work is to bring together pleating and surface patterns by designing surface patterns that are the main component of the pleating. The aim is to combine printed surface patterns with pleating in order to design contemporary two-sided textiles for a spatial context. Different pleating patterns have been tested in combination with material and scale. Small paper sketches have been used to develop the surface patterns and to see how the different surface patterns are merging with each other when printed on both sides of the fabric. The printing method that has been used is transfer print. The result is a collection of three different textiles printed with surface patterns on both sides of the fabric. For further development the textiles can be placed in an interior context and serve as room dividers.