This project explored the transformation of unconventional materials, such as sewing tools, into metal ornaments inspired by Hazara cultural motifs. By utilising metal forming and linking techniques, the goal was to create contemporary designs that blend traditional motives of Hazara culture with modern garment silhouettes of Western culture.

The rib structure is often seen in fashion apparel. However, properties of the structure, other than stretchiness, commonly are not considered during the design process. The primary objective of this study was to view the knitwear collection through fundamental knitting factors to explore opacity as a core property of the 1x1 rib knit technique. The experiments were carried out on a Silver Reed knitting machine to define possibilities within layering and opacity ranges, and as a result, the exploration frame was defined. Looking through the textile thinking perspective and consciously using knitting technology knowledge allowed me to use opacity to design layered garments. A collection of five outfits was created where each silhouette’s form and expression was driven by opacity, layering, and knit factors (stitch size, type, and amount of yarn). The project presents the process and outcome of building a knitwear collection through textile thinking.

The presented project utilises immersive digital technology to materialise the surrounding space of the human body for the development of sculptural wearables in fashion design. By considering Grosz’s framework on the individual’s personal surrounding space as the theoretical foundation for interpreting body-space interactions, the experimental practices in this project use the designer’s body across the digital and physical realms to transform the surrounding space into spatial bodies. These spatial bodies become wearable constructions in tangible materials, i.e., reused lace, as extensions of the self, showcasing one’s surrounding space.

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.

Surface prints in fashion design are traditionally used as an add-on to an already constructed garment. This project explores working with garment shape in a way that benefits the print. Motifs from childhood books and movies have been integrated into the prints to evoke a sense of nostalgia and imagination. These nostalgic stories were repurposed into something new within a fashion context. Additionally, ways of enhancing a flat transfer printed motif have been explored through various crafting techniques like painting and beading. The project resulted in examples that demonstrate a dynamic relationship between print and garment.

In this project, a collection of clothes, exploring the realm of knitwear design through the integration of out-of-context metal objects, has been developed. With a focus on exploring basic knitting techniques, such as plain knit, partial knit, and intarsia knit, the aim of this project was to challenge traditional knitting methods by introducing foreign objects to generate new shapes, functions, and expressions in knitwear. By repurposing everyday objects found in second-hand stores and seamlessly incorporating them into knitted garments, this project challenges the idea of conventional knitwear and elevates it to a form of wearable art, as well as bringing a new perspective to the production of knitted garments. Knitwear allows for the direct molding of the garment when it is still in the machine, providing the flexibility needed to seamlessly incorporate foreign objects. Through a combination of experimental techniques and a theoretical approach inspired by material juxtaposition, the project explores the potential of these objects to create complex shapes and advanced aesthetics that are unattainable through conventional knitting practices. 

This research delved into deconstruction and sought to find a conceptual way of using it in fashion design. It traced the evolution of deconstruction in fashion from the Japanese designers of the 1980s to the Belgian movement, highlighting their distinctive approaches. The research wanted to reinterpret these traditional views of deconstruction by challenging traditional norms and exploring the inherent qualities of a button-up shirt. Using the shirt as a starting point, it aimed to create a collection that added diverse perspectives to the concept of a shirt. The research adopted experimental methods, construction techniques, and materials to offer new insights into the potential of the button-up shirt as a starting point. Delving into how performance in fashion design can be presented. Additionally, it offered a formula to review the examples. Demonstrating that deconstruction involves more than just the physical reconstruction of garments: it is a conceptual adventure. 

Uppsatsen ämnar att studera trendfenomenet aesthetics på TikTok, och dess förhållande till dels mode och trender, och dels digitala sociala gemenskaper. Både fenomenet och plattformen där det existerar är förhållandevis nyfunna, och det finns därav en begränsad mängd tidigare forskning om begreppets innebörd. Syftet med studien är därmed att undersöka aesthetics som ett digitalt, socialt och moderelaterat fenomen. Detta för att bidra med kunskap om hur TikTok-aesthetics kan ses som ett trendfenomen. Studien har utförts genom en kvalitativ metod där en innehållsanalys har genomförts. Metoden innefattar ett insamlande av empiri på plattformen TikTok, där ljud, visuellt material, symboler, videostruktur och bakgrund har dokumenterats hos 12 olika aesthetics genom anteckningar och skärmdumpar. Urvalet av aesthetics har gjorts genom en förstudie, där populära och ofta förekommande aesthetics i nyhets- och modeartiklar noterades och ställdes mot data från Google Trends. Materialet har därefter kodats till fem övergripande kategorier som sågs återkomma i empirin; aesthetics från ett modeperspektiv, i användarnas händer, aesthetics som virtuell gemenskap, lekfullhet & kreativitet, samt imitation eller inte. Analysen har baserats på litteratur om estetik, mode och trenddynamik, sociala medier, och TikTok, samt på teori om den tredje platsen. Resultaten visar att TikTok-aesthetics präglas av användargenererat innehåll och lekfullhet, synligt i namngivning, visuella och musikaliska element. Aesthetics omfattar inte bara klädstilar, utan även platser, objekt och symboler, vilket gör det till ett “paket” som överskrider enbart modetrender. Studien presenterar också ett nytt perspektiv genom att betrakta TikTok-aesthetics som en “tredje plats”, där användare skapar sociala gemenskaper och grupptillhörighet, som beskriver detta fenomen som ett utrymme som skiljer sig från hemmet och arbetet. För framtida forskning kan denna studie fungera som en grund, särskilt för att utforska hållbarhetsaspekter och innebörden av fast fashion och second hand inom TikTok-aesthetics. Studien inkluderar inte företags- eller konsumentperspektiv, vilket kan utvecklas vidare för att förstå fenomenets roll inom marknadsföring. 

This work aims to upcycle old jeans by enhancing both the surface and material as well as generating alternative forms. The work further investigates circumstances, such as gender stereotypes and one garment’s “single” usage. — At its foundation, It initiates by investigating jeans.

This degree work is situated in the field of textile design and positions itself specifically in tactility and jacquard weaving. The motive of this work is to connect textile design with the user in a site-specific context for an including designprocess. The aim of this study is to investigate tactility in a site-specific context with playful weaves inspired by nature. The design process had its starting point in tactile and visual patterns in nature and involved hand-drawn sketches translated into woven patterns to spark curiosity and invite to touch. Along the process the produced woven sketches were tested on an audience to understand touch in relation to user but also put into a site-specific context to understand what could be developed in the space. The result of the study is four different weaves with variety in colour and tactility positioned in different parts of the chosen context - a children’s library corner. The collection consists of one floor piece, one wall piece and two interactive, movable pieces. Designing four textiles for different touch in relation to user and a site-specific context contributes to the textile field by containing a longlasting, including designprocess.

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. 

Sverige befinner sig i en lågkonjunktur och svenska företag har påverkats i stor utsträckning. Många företag har tvingats skära ner på sina resurser, bland annat genom att varsla personal. Medarbetare på företag som drabbats av lågkonjunkturen har därmed hamnat i en osäker situation. Syftet med studien är att undersöka hur en sådan samhällssituation påverkar medarbetares motivation. Studien utgår genomgående från självbestämmandeteorin för att undersöka olika motivationsfaktorer. En kvantitativ enkätundersökning skickades ut via Linkedin. Undersökningen gav 57 giltiga svar från medarbetare i Sverige, främst i åldrarna 18–25. Responsen användes i sin tur som underlag för korrelationstester där sambandet mellan oro inför inflationen testades mot olika motivationstyper. Pearsons test angående sambandet gav därtill ett resultat som visade att det fanns ett signifikant samband mellan undersökta variabler. Utifrån resultatet kunde en slutsats dras om att motivationstypen yttre motivation och det reglerade tillståndet external regulation hade mest betydelse för medarbetare som känner oro inför inflationen. Därmed motiveras medarbetare mestadels av den minst autonoma typen av motivation under osäkra ekonomiska förhållanden. Det dras även en slutsats om att medarbetare som känner oro för sin arbetssituation till följd av inflationen är drabbade av en hög grad amotivation. 

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.

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. 

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.

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.

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. 

This work places itself in the field of textile design and jacquard woven textiles. By exploring the relationship between the traditional Swedish bindings simplified overshot and monk’s belt, and computer-generated design tools and digital aesthetics, the primary motive has been to design a woven collection that explores alternative and contemporary expressions of traditional textiles. By challenging traditional properties and their original context, the collection has explored their spatial recognition as experimental decorative textiles. By adapting an experimental design method that forces de-contextualization and manipulation, the outcome of the study is a collection of three woven textiles which all suggest how traditional techniques can be revisited and reworked into contemporary contexts.

This is a study that aims to challenge conventional garment construction through the use of a design method, based on using non-body-related shapes as a starting point to create wearable hybrids. The idea behind this project was to find ways to create inclusive and alternative ways of dressing by creating garments that allow all body types to interact with the garments dynamically and allow each body to create a unique interplay with them. 

This degree work positions itself in the field of textile design, more specifically in non-woven, color blending, felting, and interaction.

The work explores different techniques such as mechanical felting with needle punch, wet felting to manipulate forms, and carding, with a focus on color blending. The aimis to explore the design possibilities in non-woven wool in regards to color blending color gradients. The motivation for the project is to bring textile design into a wider context, and to investigate how the combination of blending colored fibers and felting techniques can create double-sided textiles.

Through a hands-on method, explorations were carried out using two textile techniques; Color blending and needle punching. Loose wool fibers were dyed in the three primary colors, then carded into a range of saturated colors, which gave a rich color library to work further on with. Wet felting was used to bond, create non-woven material and make 3-dimensional forms.

The result is three pieces in 100% non-woven wool with different color gradients which encourage interaction. The conclusion is that it is possible to work with an alternative color blending method (wool carding) in non-woven in order to create color gradations. The project shows that the field of textile design is expanded by pushing the boundaries of how a textile designer can work with these techniques.

This work is closely related to the idea of thinking outside the box as design is often referred to do. By questioning the definition of something one can challenge the meaning of that particular object, and what it might become. The aim of this work is to explore dressing through objects to generate alternative ways to construct fashion. By using objects as the starting point for ideas and construction this work wants to find something new by investigating something real, such as the objects themselves. The alternative ways on how to construct fashion could also be seen in how fashion is created based on an object instead of the body. The body comes secondary in the process of construction. The result shows upon different perspectives on how objects are made to perform something they normally don’t. This is done to push what fashion could be and to find new ideas, solutions and expressions within fashion.

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.

This study is an initial attempt to investigate the dialog between knitting and tufting. The approach is to experiment with different knitting techniques for different results and subsequently use the tufting as a decorative shaping tool for the knitted fabric. By using the method of trial and error, the goal was to find criteria to make the material lead. Subsequently, this study questions the common way of tufting by bringing an element of stretchy into the execution. The thesis shows the development of an alternative backing for tufting to make a wearable fabric for fashion. It was concluded that it is possible to tuft in a knitted fabric as long as the fabric has tension. The criteria for executing this method were that the knitted fabric can not be too sparsely knitted and one has to use the loop-tufting gun to be able to make stitches. 

This work positions itself within the field of non-woven material design in a light and interior context. The aim of KNIT-NET is to design watermarks for papermaking through knitted textile structures. Watermarks are conventionally produced by creating a variation in the thickness of the paper fibres during the wet-paper phase of papermaking. This design is clearly visible when the paper is held up to a light source. Usually weaving techniques are used in order to filter out the water from the cellulosic pulp. Prior knowledge of plant fibre papermaking and traditional watermarking techniques was during the summer 2020. Subsequently, the ideas to explore the project further were raised during this degree project. The primary motive is to find other ways to produce water markings and texturizing to non-woven materials, by investigating knitted surfaces and yarns that will be functional in a wet process in papermaking. The material should provide organic structure and shaded pattern to the non-woven cellulosic textiles. Several cellulosic fibres were explored during this study; long staple cotton and sisal hemp fibres were the final materials of choice. The fibres were boiled and beaten into pulp, then applied on top of the knitted net designs in order to shape the paper sheets. The various knitted structures guided the choice of fibres, since the textiles affected the material properties and aesthetics of the final paper designs. The result is a collection of paper artefacts that visualise the value of non-woven paper material in an interior and light context. The muted colours becomes more visible and stronger when light is shining through. The knitted structures, in combination with the opaque and transparent cellulosic fibres, are perceived differently depending on the source of light, the direction of the light, as well as what time in the day. KNIT-NET is also a contribution to the method of utilising knitted textile structures to design watermarks for papermaking 

Knits ‘n Pieces is a textile design project that explores multifunctional form through knitting. The motive of this work is to find alternatives to design textiles that can inspire consumers and producers to rethink textile utilization for a more sustainable textile future. This project aims to explore multifunctional form through knitted textile design in wearable interior objects. The experimental work has resulted in three designs, where knitted qualities in combinations of material and color choices were explored in textile modular form. Through knit programming, holes and tubes were introduced into the knitted structure, allowing for drawstrings to be inserted into each module, in turn allowing them to assemble and disassemble between the two states: for body or interior. This project showed how multi-functionality can be introduced in textile design and how knitted qualities could be explored in modularity. It suggests methods for designing modularly and multifunctional to challenge current approaches to design, leading to a more sustainable chain of production and consumption.

This project places itself in the area of Textile Design, relief patterns and weaving. The project drives from an interest of not taking design so seriously, letting it be playful and maybe slightly meaningless, in terms of functionality. This design is not something that is needed, neither a problem-solving design. Rather, the intention is to investigate how the design would be saturated in a context where it would be something unpractical and extra. Extra as something that is not necessary. With the aim of the project is to explore texture and volume by designing tactile relief patterns through the combination of Jacquard weaving and hand painting. The process consists of experimenting in the Jacquard: weaving in undyed yarns to create form through bindings and material. The woven textiles are then painted with a mix of pigment and water to highlight or distort the form of the weave. The outcome of the study is a collection of several pieces, where volume, texture, and tactile patterns are explored. This work contributes to the field of textile design by displaying a possibility to use a hands-on step in the Jaquard process, as well as the appearance of the hand: aquarelle look and a clear hand brush that is not possible using dyed yarns. 

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.

The growing demand for fast fashion and chea pgarments has led to a system of overproduction and overconsumption leaving tons of discarded textiles in landfills every year. This project investigates how textile waste can be up-cycled and redesigned into fashionable garments of higher value by merging textiles and applying surface design techniques. In this project two techniques were explored in relation to up-cycling, slashing and printing. Printing as a method to give new print designs and slashing as a tool to merge textiles together and create patterns and textures aiming to find new surface expressions and challenge the current up-cycling aesthetic.

The outcome of the collection reveals various ways one can work with slashing and printing as a method to transform and elevate different types of garments and materials found within discarded textiles. It shows an example of how material exploration can guide the way to create garments and that by mixing textile design and fashion design one can explore different properties simultaneously.

"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. 

Stories to Wear är ett kandidatarbete inom textildesign. Arbetets position är inom digitalt tryckt textilytmönster för kläder där ytmönsterskollektionen är designad för berättande och lekfullhet. Projektet utforskar den synergistiska effekten av att kombinera en metod där slumpen bestämmer utfallet, textilier, mönster och kroppen.

This work deals with zero-waste pattern cutting in the field of fashion design, in order to reduce waste from garment manufacturing processes. The project explores sustainable pattern-cutting solutions by combining zero-waste draping with form-woven pattern pieces. By exploring existing methods of industry pioneers and ancient draping principles, new solutions to reduce waste in garment cutting have been found. An innovative method of form–woven pattern pieces together with zero waste pattern cutting expands the possibilities of waste-free pattern cutting immensely. Through introducing hand-weaved details, different textures and material meetings are achieved in the project. 

Genom att integrera den mänskliga formen med den cirkulära omformbara konstruktionen presenterar detta projekt en berättelse-byggande danskostym. Dessa kostymer ger tillgång till en omfattande repertoar av silhuetter, vilket ger dansare ett nytt bibliotek av former att utforska. Som ett resultat transporteras tittarna bortom gränserna för den mänskliga formen och ges fantasifulla associationer med målet att stimulera publikens kreativitet.

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 in textile design explores how curtains can be designed to become interactive through textile prints and laser cutting. The work places itself within the field of surface pattern design. The aim was to explore interactive textile prints using perspective as a design variable when designing surface patterns for curtains. The aesthetics of traditional Swedish folk art motifs and colour were an inspiration in the design of the prints. The methods used were a combination of textile transfer printing and laser cutting. The result of this project is a collection of three printed textiles that feature laser cutting and etching in different ways. Through human interaction the textiles can be altered in different ways. It is possible to change the textile and adapt it to seasons, trends and personal preferences. The project aims to offer an alternative approach to sustainable textiles by providing people with possibility to change their interor textiles without needing to consume more products.

Följande studie är skriven på svenska och behandlar fenomenet distansledarskap samt hur det skiljer sig mot ett ledarskap utan fysiskt avstånd. Studien tar reda på hur de arbetar med tillit och kommunikation samt hur förhållandet mellan kontroll och autonomi ser ut, när arbetet sker på distans. Studiens empiriska material består av 12st semistrukturerade intervjuer. Samtliga respondenter är svenska chefer som kommer från tre olika branscher, socialtjänsten, energi- samt rekryterings/bemanningsbranschen. Studiens resultat visar att chefers förutsättningar för att bedriva distansarbete skiljer sig åt inom olika organisationer. Det går att utläsa hur autonomi ses som viktigare än kontroll när arbetet sker på distans. Vidare presenteras en god tillit och kommunikation som viktiga aspekter i ett distansledarskap. Hur chefer går tillväga för att skapa denna tillit och hur de arbetar med kommunikationen på distans skiljer sig åt, och det är svårt att presentera en lösning som fungerar i alla organisationer. En enhetlig bild som skapas är att majoriteten av respondenterna föredrar en frekvent kommunikation när arbetet sker på distans. 

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.

Holy Hell aims to encourage new ways of thinking and initiate a discussion by exploring the potential of creating social statements when merging Catholic garments with contemporary fashion archetypes. The modern archetypes seek to reflect the modern groups or ’faiths’ and are chosen based on iconic status. The clashing is done by choosing garment types of each category that hold the aesthetic potential to be combined and using digital material development such as laser cutting, power knitting, and transfer printing that contribute to the novelty of the expression and take the work into a contemporary fashion context. As a result, fashion garments are created that can be seen to make the modern uniforms, the suit, the military uniform, the biker jacket, the jeans, and the uniform for American football, into ’holy’ fashion statements.

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. 

Our landfills are growing and constantly expanding with post-consumer waste in the form of cheap fast fashion garments. One way to deal with this problem is to upcycle the discarded material into new things with a higher value. There is one type of material though, that has a tendency to be forgotten about. This material is baby garments. Mother Elizabeth investigates how these discarded garments can be upcycled into womenswear fashion. The title of this work reflects the two areas investigated, baby garments and the Elizabethan era. With an aim of broadening the perspective of what type of discarded material can be upcycled into womenswear fashion, the areas of investigation are combined. Throughout the study, methods for exploring garments from the Elizabethan era were applied in order to create a reference library used as a base when making design decisions. The outcomes presented in this work aim to inspire other designers to broaden their perspective on what type of material can be used when working with upcycling. In addition to stressing the importance of using discarded textiles, this project also showcases how history can be used as a tool to make sure there is a future.

This work investigates the area of transformable and modular clothes through the technique of notching. The idea of transformable clothes is not new. Throughout history garments have been tied, wrapped or pinned together. Transformable clothes are often seen as a sustainable option because it challenges the wearer and creates a bond making the garment more valuable. This work seeks to present a new way of draping modular clothes by pinning notching strips onto fabric, transforming it into shapes. Resulting in a collection of pieces that can be combined in many different ways, creating a large collection using a small amount of materials. 

In this work agricultural workwear garments will be deconstructed with the goal of challenging agricultural workwear expression and creating clothes that can be worn in multiple ways allowing for wider expression and ways of wearing in a smaller set of clothes. By opening up clothes from a farmer’s wardrobe to new ways of wearing and new garment types, placing them in new contexts, stereotypes and preconceived notions of farmers and rural culture will be challenged. The method used to deconstruct the garments will be based on working with ready made clothes and replicas and cutting them up, displacing the garments parts by allowing the wearer to enter the garment in new ways through alternative openings inspired by the unconventional zipper openings found on many vintage space- suits. Then making necessary adjustments to the construction to best allow the garment to allow for multiple ways of wearing. Colors and textures will be challenged as-well drawing inspiration from space suits and space travel. The relevance of the work is both personal and emotive through its reference points in agricultural workwear and space travel. Traditional shapes found in workwear will be challenged, trying to find new shape and silhouette with the application of deconstructionist methodology from Martin Margiela. The work also holds relevance from a sustainable perspective by prolonging the lifecycle of garments and discourage overconsumption with garments that fill up a wider purpose that otherwise would be served by multiple garments.

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. 

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. 

Stand Up Weave explores multiple-layer weaving from a sculptural and spatial perspective in combination with non-textile materials as a way of challanging what weaving can be and how it can be developed in the changing textile industry. The aim was to develop three-dimensional fabrics by hand weaving in multiple layers with integrated supporting structures to achieve sculptural textile objects directed towards experimental textile design. The work investigates and develops methods of how to design and produce complete textile objects directly in the loom without industrial machines or finishing processes such as sewing together parts. The result is a collection of three woven objects, each exhibiting different ways of constructing three-dimensional textiles with individual solutions for warp planning, weaving and supporting structures.

Daylight as an intriguing atmospheric phenomenon is put within high and constantly rising focus by the field of architecture, art and design to inspire and trigger design solutions for energy-efficient and human-friendly environments. Sunny interaction is an exploration of an active relationship between sunlight and the field of textile design within weaving. Considering the aspect of changeability as a desired quality, sunlight is incorporated into the design process and its outcome as a valuable design variable to explore the possibilities in shifting color and pattern expression. The aim of the project is to explore how color and pattern changeability can be activated in woven textiles with spatial structures while being exposed to the flow of the sunlight during the day to create engaging public spaces. The project was based on the combination of industrial weaving and hands-on folding techniques. The leading element of exploration was the concept of gradation that was applied as a method of working with color, transparency, weave and spatial pattern. This approach enhanced the search for increased surface diversity in terms of the color perception and light transmission. As an outcome of this project three double-sided woven pieces were designed with varying pattern scale, amount of light transmission and color interaction. The collection expands the possibilities of creating light responsive textiles for public spaces with further potential to adjust light settings and atmosphere in interiors and bring along sustainable benefits of temperature and mood controlling abilites. The sustainability aspect is also embraced by the concept of biophilic design by putting high focus on the advantages of utilizing the natural light in the design process. As an outcome, having an active interaction with natural light aims towards enriching monotonous office spaces through a visual contact with this changeable installation. In this context the changeability of color and surface can enrich the space, adding an element of variety and complexity as an important factor that influences human mental health and well-being.

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.

De binära könsrollerna är ett socialt konstruerat system som delar upp två motsatta kön, vilket resulterat i att modedesign krävt två huvudområden, damkläder och herrkläder, och betraktat som däremellan: unisex. Inom unisex modet gynnas de manligt kodade plaggen på grund av sociala konstruktioner om kön och normer, samt deras löst sittande silhuetter som används som en lösning för att kunna passa både manligt och kvinnligt kodade kroppar. Detta arbete föreslår ett alternativ till vad unisex kan vara genom att utforska den icke-mänskliga formen av en stol med syftet att ta ett steg bort från människokroppens biologiska skillnader som ofta dikterar modedesign. Resultatet föreslår en reaktion på det manligt kodade unisex modet genom att inkludera kvinnligt kodade material, dekorativa former som passar olika kroppar genom sin elasticitet. 

This degree work is investigating nostalgia and the social and environmental sustainable aspects of upcycling. It aims to explore nostalgia as a progressive design tool, through storytelling, by means of upcycling materials and memories. It is developed by using creative writing methods with trigger words, translated to a visual fashion design process. To gain understanding and depth in the storytelling, different memory triggers have been introduced in each example. It suggests a multidimensional take on nostalgia and highlights its importance in everyday life, as well as in the design and art fields, and how storytelling can be actively used in a fashion design process. It also looks at communication in dress and the relationship between the private and the public identity. The importance of this investigation has been to look beyond today’s upcycling field of fashion, in order to develop it further and broaden the perspectives of the field. With the theme of ’the act of eating’, this degree work is seen as an abstract comment to the fashion industry’s influence on bodies and eating habits.

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.

Textile waste, both pre and post consumer, is a problem that needs a solution, and fast. This work aims to find a simple solution to that problem, to exemplify how a small change in thinking and structures can make a big difference. The proposal is a design system of square construction, with roots in historical fabric conservancy practices and by use of salvage craft techniques. By constructing garments out of squares, waste is eliminated by simple means and existing materials of different qualities can be cut in the same way, thereby rationalized, then assembled into larger materials and so an up cycling process is achieved. The result of this work is a versatile design system which may lead to many different outcomes in the hands of different designers without compromising on desired fit and without the waste generated from cutting conventionally. In the present fashion field solutions such as this system are necessary to encourage the apprehensive designer to take steps towards sustainable practices.