Textile Design Brochure 2019

Textile Design at De Montfort University has a heritage dating back to the School of Textiles which was founded in 1885. Today, with a strong focus on creative innovation and technical expertise, we aim to provide our students with a comprehensive understanding of contemporary textile design for fashion and interiors which instills relevant knowledge and the skills required to become a practicing designer in a global market. Our students have the opportunity to specialise in one of four textile disciplines: print, embroidery, weave or knit.

The course benefits from strong relationships with contemporary practitioners and influential industry partners that support the course team to develop our students design work and its relevance to the contemporary design market. Our students are fully prepared for the workplace by working on ‘live’ projects so they can contextualise their project work against industry set project briefs and by pursuing placements building their skill set and raising their profile.

We have had another successful year with our students winning awards and competitions, such as the The Worshipful Company of Dyers, Bradford Textiles Society, and The Society of Dyers and Colourists. Our graduates go on to work in diverse and creative roles including textiles for interiors, fashion, buying and production, studio design and freelance work, design makers and careers in teaching and education.

Textile Design students this academic year have continued to benefit from the state-of-the-art Vijay Patel Building, the centerpiece of DMU’s £136 million campus transformation. This art and design facility shows how serious we are about giving our students the very best experience and to provide them with the tools to achieve their aspirations.

Contact us: Programme Leader - Nicola Taylor nicola.taylor2@dmu.ac.uk Textile Design De Montfort University Leicester The Gateway LE1 9BH

[ MIXED MEDIA ] Rosemary Ager Lily Botterill Lauryn Collins Faith Cunningham Shanice England Eleanor Jones Amber Jordan Ella Kirk Ruoqi Li Minaben Modhvadia Charlotte Pearson Hannah Perry Amanpreet Salh Sumyia Sami Jennifer Simmons Lucy Smith-Richards Amy Smith Megan Taylor Ceyla Vural Jifang Zhang

[ CONSTRUCT ]

[ PRINT] Emma Ashurst Naomi Halls Amelia Hunt Christie Jackson Keira Jones Bethany Knights Priyanka Mistry Bhagyashri Mohan Anna Patsalidou Eleanor Potter Vanessa Sizya Rebecca Stevens Ella Tomlinson

Eve Billingham Paige Doran Stacy Crasto Khadija Dookanwala Saja Elmishri Kimia Garshasbi Lauren Harris Aaisha Hussain Ailish Jenkins Daisy Jones-Craft Jeorgia Mills Rosie Patchett Amy Painter Holly Stroud Samantha Sully Leah Thorn-Davis

[ MIXED MEDIA ]

[ ROSEMARY AGER ] rosieager@outlook.com

Mixed Media

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[LILY BOTTERILL ]

lilybotterill0@gmail.com

[ LAURYN COLLINS] lauryncollins@gmail.com

Mixed Media

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[ FAITH CUNNINGHAM ] faithlouisec@gmail.com

[ SHANICE ENGLAND ] shanice_england@hotmail.com

Mixed Media

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[ELEANOR JONES ] Eleanorjones96@hotmail.com

[ AMBER JORDAN ] ajordandesign@outlook.com

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[ ELLA KIRK ] ellamaykirk@hotmail.com

[ RUOQI LI ] liruoqi20@126.com

Mixed Media

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[ MINABEN MODHVADIA ] minamodhavadia01@gmail.com

[ CHARLOTTE PEARSON ] Charlotte.b.p83@gmail.com

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[ HANNAH PERRY ]

hannahperry97@hotmail.co.uk

[ AMANPREET SALH ] amandyal@hotmail.co.uk

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[ SUMYIA SAMI ] sumyia.zsr@gmail.com

[ JENNIFER SIMMONS ] simmonsjenny3@gmail.com

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[ LUCY SMITH-RICHARDS ]

lsrdesign97@gmail.com

[ AMY SMITH ] amyvicsmith@gmail.com

Mixed Media

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[ MEGAN TAYLOR ]

megantaaylor@gmail.com

[ CEYLA VURAL ] ceylavural1@gmail.com

Mixed Media

Mixed Media

[ JIFANG ZHANG ] jifang.zhang@hotmail.com

[ PRINT ]

Print

[ EMMA ASHURST ] emma.ashurst150698@googlemail.com

[ NAOMI HALLS ] Nehtextiles@gmail.com

Print

[ AMEILA HUNT ] ameliarose.hunt@gmail.com

Print

Print

[ CHRISTIE JACKSON ]

Christie.jackson147@gmail.com

[ KEIRA JONES ] keiraljones97@gmail.com

Print

Print

[ BETHANY KNIGHTS ] knights.bethany@gmail.com

[ PRIYANKA MISTRY ] priyanka.mistry@hotmail.co.uk

Print

Print

[ BHAGYASHRI MOHAN ] bhagyashri@hotmail.co.uk

ABSTRACT: [ANNA PATSALIDOU ] anna.patsalidou@hotmail.com

Print:Dissertation

“To explore the block printing and collage techniques and combine them to create artwork which is displayed on walls”

The main aim of this dissertation is to explore both block printing and collage techniques and combine them to create artwork which is displayed on walls. The block printing literature review has been divided into smaller aspects, which explores similar techniques such as Lino printing, monoprinting and wood engraving. This dissertation shows a brief analysation for each one of these, by explaining their history as well as the techniques’ process.

Alongside the research, to help understand these methods better, practice and experimentation have been developed by mainly using collage and some of the block printing techniques mentioned above. Furthermore, research for the different time periods of the collage technique have been explored, such as the Dada Spectrum, the Surrealist Years and the Later Surrealism periods. These years were the starting point of a new phase in collage and art history, which makes them even more important in today’s art.

This thesis found that both block printing and collage have been used in the past years to decorate walls along with many other purposes. Furthermore, a remarkable finding from the research about the Dada Movement is that Dadaists found their ideal means of expression in collage. They explored all of its possibilities, which is very similar to the contemporary artist’s way of thinking and working.

As part of the research for artwork displayed on walls, several people from different professions and students from different backgrounds were given some images. They were asked to separate them into three different categories; the ones they like, the ones they don’t like and the ones that they are not sure about how they feel. The important part of this was for them to explain the reasoning behind their final decisions. After the end of this experimentation, the participants were told which ones were created with collage and/or block printing techniques. This test helped to determine how people from different subject areas and professions understand and think about the two techniques.

[ ELEANOR POTTER ] elliepotter.mae@gmail.com

Print

[ VANESSA SIZYA ] vsizya@gmail.com

Print

Print

[ REBECCA STEVENS ]

beccaa.stevens@hotmail.com

[ ELLA TOMLINSON ] ella.g.tomlinson@gmail.com

Print

[ CONSTRUCT ]

ABSTRACT: [ EVE BILLINGHAM ]

eve24@live.co.uk

Construct:Dissertation

“Designing adaptive clothing for the visually impaired�

This dissertation is about designing adaptive clothing for the visually impaired or blind. When a person suffers the loss of their sight they lose all independence and must rely on carers to help them perform daily tasks.

Blind people have trouble engaging with the world around them, and struggle to perform everyday tasks independently. None more so than whey they are getting dressed, with many feelings of isolation and helplessness developing from this challenge and lack of independence. This research aims to support those who have such issues and help them to overcome the challenges they are experiencing.

With support from the RNIB, support groups and Marks and Spencer’s to develop an insight into the challenges the visually impaired face when dressing, different textures and fabrics have been identified to help create a solution for everyday appeal used by the visually impaired. Prototypes were created using existing garments to test which areas the placement of the textured fabric would be most appropriate and beneficial. Pilot studies were then conducted using the prototypes and standard garments to assess their effectiveness. Performance analysis was also undertaken to identify whether the adhesives and chosen fabrics used were launderable and durable.

Findings from the RNIB College revealed that the most appropriate placements of the textured fabrics are around the two arm holes and the main garment hole. findings additionally found that it is essential to have a textured fabric on the front panel towards the left of the garments near the tags. It was identified that this is how the visually impaired students mainly identified that the garment was on correctly.

Testing revealed that the adhesives used need to be modified to ensure they are fit for purpose.

The project also highlighted scope for this adaptable product within industry and there is a clear market demand. The research has found the effective areas and types of preferred texture, which is a ridged knitted fabric that closely resembles braille. To take this product to market further research needs to be undertaken in the following areas: appropriate and more durable adhesives, and more extensive user testing.

Participants took part in the user testing study to reveal how the product would perform. Findings suggested that the product does work and significantly reduces dressing time. Participants expressed that when putting on the adapted garment they found it easier to find the correct holes to put their heads and arms through. They also expressed that when using this product that they felt more confident that the garment was on correctly. This then suggested that the textured fabrics were placed appropriately.

[ PAIGE DORAN ] paigedoran@outlook.com

Construct

[ STACY CRASTO ] crastostacy@gmail.com

Construct

Construct

[ KHADIJA DOOKANWALA ] khadijadookanwala@gmail.com

ABSTRACT: [ SAJA ELMISHRI ] SElmishri@gmail.com

Construct:Dissertation

““Explore sustainable alternatives to cotton that can be used against the skin for wearer comfort properties” The issue with fashion is the over-consumption of synthetic clothing and its relation between fast fashion and unethical practices leading to exploitation of workers, much of which is related to cotton production.

The purpose of this research project is to explore sustainable alternatives to cotton that can be used against the skin for wearer comfort properties. Looking into 12th UN Sustaibanle Development Goal, ‘Responsible Consumption and Production’, has allowed the opportunity to explore what other sustainable alternatives can be used against the skin and not solely rely on cotton.

Exploring this research project through the use of questionnaire, fabric development, textile testing and focus group. Gathering qualitative and quantitative data that will provide an in-depth understanding of the proposed sustainable alternatives and how they can be used against the skin for wearer comfort.

Consumer perception to sustainability was established through the use of a questionnaire and focus group was used to gauge the reaction of developed sustainable alternative fabrics. The results were then correlated of the textile testing to identify the objective measurement of the sustainable fibres. The findings from the questionnaire and focus group mentioned an increase to engage with sustainability in the fashion industry.

However the associated concerns were that consumers are willing to pay more for sustainable clothing but unsure of the brand’s ethical objective. This fully matches the result found in the literature which is limited from a consumer perception perspective.

The subjective assessment research that participants liked that if the sustainable alternative fabrics were made available and accessible, they would purchase this but wouldn’t be actively looking for sustainable apparel in the high-street. Furthermore, the objective measurement gathered from textile testing, the proposed sustainable alternatives has outperformed the commercially used fibres, cotton and Tencel. This suggests from a sustainability point of view, the fibres durability will increase the life cycle of the apparel and will last for a long period of time.

Recommendations for further work includes to propose an end use and conduct textile testing in accordance with British Industry Standard. This research project only explored if the alternatives to cotton can be used for wearer comfort and after careful discussion with subject tutor, it wasn’t essential to follow an industry standard as there were no proposed end use.

[ KIMIA GARSHASBI ] Construct:Dissertation

:ABSTRACT

kimiagr7@gmail.com

“Bringing the ancient Persia back through the white Wednesday movement”

In today’s world, veiling is often referred to Islam and Muslims women, but the reality is Islam did not invent veiling. Islam borrowed veiling from the ancient Assyrians, which resulted in the creation of Islamic veiling or the hijab. The practice of veiling is the matter of culture, politics, and religion and through the history meaning and styles of veiling have been constantly changing.

The research looks at the concept of veiling from the perspective of the history and defines how this piece of clothing has been used as a political tool, the symbol of resistance and oppression in different times from the ancient Persia to modern Iran. Currently, in modern Iran, white Wednesday campaign protests against the compulsory hijab by sticking the veil on a stick or wearing white scarfs as the symbol of the movement. The movement involves both women and men with or without hijab asking for the freedom of veiling and human rights. A report released by the government of Iran, states 53% of Iran’s population are against the compulsory hijab, although according to the interviews and questioners took by the research, 85% of Iranian women do not believe in hijab as a part of their identity.

Nowadays, Iran is more remembered for discriminatory laws and the compulsory hijab, although back in 5AD, Cyrus the great of the Persian empire (founder of Achaemenes empire) was the first person to establish human rights and democracy in the world and the evidence of his democracy and human rights is found in a charter known as the Cyrus cylinder, that is now kept in the British Museum in London. Therefore, with taking inspirations from Cyrus the great’ democracy, the research experiments and combines Achaemenes’s art as the symbol of Cyrus the Great’s democracy with white Wednesday movement through knitwear designs to protest against the compulsory Islamic veiling and discriminatory laws in modern Iran. And as the final outcome, the research produces a collection of photographs of knitwear designs protesting against the compulsory hijab, as in the same way as the white Wednesday movement works as the source of images of women protesting against the compulsory hijab.

Construct

[ LAUREN HARRIS ] lauren_amy_harris@yahoo.com

Construct

[ AAISHA HUSSAIN ] aaisha_98@outlook.com

ABSTRACT: [ AILISH JENKINS ] ailishjenkins@gmail.com

Construct:Dissertation

“Sensory Textiles the future for the visually impaired�

There are more than 2 million people living with sight loss in the UK, whether they are born without sight or lose it during their life, this can significantly impact their daily lives. The area of interior furnishings for those who are visually impaired is still to be developed. This study investigates the role of textiles in facilitating sensory and enriched environments for people living with limited vision. It examines the effect that colour, smell and texture have on soft furnishings designed for visually impaired consumers and explores whether the sense of smell can be utilised through microencapsulation of scent within a textile product. By interviewing individuals from Vista, the charity for people with sight loss, the research captures their views and feelings regarding their preferences for soft furnishings and how their visual problems affect their choice of these. The participants also had the opportunity to see, touch and smell a range of textile samples commenting on their preferences.

The research study found that strong, contrasting and blocks of colour were used as a design feature to compensate for sight loss acting as cues to aid independent functioning. This was confirmed in their preferred choice of the full-colour design sample yet contrary to existing literature they also liked the patterned sample. The importance of the sense of touch was outlined with textured items being used as prompts to identify the difference between rooms and helping to visualise rooms. The participants preferred the samples with soft and raised textures. Individuals with visual impairment can use scents to help map new environments. The participants felt that scent on soft furnishings would be beneficial, aiding orientation and promoting personalisation. Preferring lavender and lemon scents which have relaxing and refreshing properties. The study has identified the importance of tactile and sensory experiences for those with visual impairment and how essential they are in providing interpreting the physical environment. The research has highlighted how textiles that are designed to meet such needs can assist in creating sensory environments for people living with a limited vision, promoting independence and wellbeing.

[ SCARLETT JONES-CRAFT ] scarlettjonescraft@gmail.com

Construct

ABSTRACT:[ JEORGIA MILLS ]

Construct:Dissertation

jeorgiamillsdesign@gmail.com

“Problem Solving in Textiles: Adapting the Design Process to Implement Biophilic Design Theory�

The purpose of this thesis was to establish a textile design process focused on problem solving using biophilic design as a case study. Biophilic design was developed within the field of architecture from the theory of biophilia; defined by Edward Wilson (1984) as an innate tendency of human beings to seek connections with the natural world.

Biophilic design incorporates the use of direct and indirect connotations of the natural environment which research has shown can have positive impacts on mental and physical health, whilst also increasing people’s motivation to behave more sustainably. Currently, there are global issues relating to environmental and social sustainability, meaning that it is becoming more important for interdisciplinary design approaches. Therefore, this thesis considers how the textile design process could be adapted to implement the architectural theory of biophilic design. There is a focused approach on problem solving within biophilic theory, highlighting the need for specific criteria to be outlined at the beginning of the project.

Interviews with students studying textile design at De Montfort University were carried out to understand their main focus within the design process. This was to highlight the potential areas that biophilic design could be implemented within. It was illustrated that students prioritised market and visual research, contrasting the biophilic design principles of focusing on writing the brief.

Students also demonstrated that they all carry out the textile design process in an individual way, thus the research explored how to adjust the process to be suitable to apply key biophilic theories.

This thesis found that to allow textile designers to implement biophilic design, there needs to be a focus on the aims and objectives by highlighting a problem to be solved. This is carried out through extensive research, with this thesis focusing on biophilic design. It was also determined that the sequence of activities used within development stages of the process cannot be clearly defined. The thesis concludes that the textile design process can be developed to implement problem solving and biophilic design. However, it also resolves that an overall step-by-step process cannot be identified due to the back and forth motion between different design activities during design development.

Construct

[ ROSIE PATCHETT ]

:ABSTRACT

rosie.patchett@gmail.com

“Through analysing the design process of textile designers, how can tacit and explicit knowledge be depicted within an individual designer?”

The aim of this research was to consider how tacit and explicit knowledge is represented within textile designers, and how this impacts their individual design process. Theories of tacit knowledge have been outlined within the literature review, exploring Polanyi’s theory to investigate why not all knowledge can be made explicit. Nonaka and Takeuchi’s knowledge creation model was proposed has also been identified, highlighting the way tacit and explicit knowledge is converted through processes of: socialisation, externalisation, combination and internalisation.

The amount of research that has been conducted within textile design is considerably less than in other disciplines like product design. To add to this, many of the existing design theories are not applicable to textile designers’ ways of working, with the focus being mainly on the inter to create a solution for a problem. This is not as relevant for textile designers, with their design generally focusing on the sensorial and emotional elements of the product. The knowledge that textile designers possess is mainly tacit, revealed through application and experience. This has made it a difficult process to document because of its subjective and indescribable nature. As well as conflicting areas of design research, also noted were concepts that were evident across design disciplines. Some key themes that emerged were learning through experience, the state of flow and reflecting both during the design process and afterwards.

Semi-structured interviews were conducted using the knowledge creation model and design research from the literature review to inform interview questions. Five textile designers were interviewed, each from a different area within the textiles industry. Questions were mainly related to the design process, with some relating to external topics. Their answers were then transcribed, and coded to categorise the data in to the four areas of knowledge creation where sub-themes were then identified.

Some of the findings emerged were particularly significant to research within knowledge creation.

Particularly fundamental for knowledge creation was the theme of socialising; this was integrated throughout all four types of conversion, and each designer explicitly highlighted many accounts where it benefited their design process. Furthermore, the necessity of designers reflecting on their projects both within and afterwards was also identified, but less explicitly stated by the designers themselves. Experiential learning was another recurring theme throughout, further sustaining the statement that textile knowledge is largely tacit. Although themes across textile knowledge creation could be recognised, each designer embodied the themes differently. It suggests the textile design process is not unanimous or structured, but heavily influenced by individual designer’s experiences within design and everyday life. This dissertation could act as a basis for further research, to identify and explore issues that occur within the textiles industry, such as gender bias or well-being of textile designers.

[ AMY PAINTER ] amyjanepainter@gmail.com

Construct

Construct

[HOLLY STROUD ] holly@stroudweb.com

[ SAMANTHA SULLY ] smnthslly@gmail.com

Construct

Construct

[ LEAH THORN-DAVIS ]

leahthorndavis@gmail.com

VIJAY PATEL BUILDING

Our Textile Design BA (Hons) students are now well-established in the Vijay Patel Building. This award-winning building brings all of our art and design courses together into a stunning architectural space that’s been designed to provide inspiring, flexible spaces, studios and extensive facilities which invite creativity and innovation.

Sitting at the heart of our recently transformed campus, this landmark building defines us as a 21st century university. It shows how serious we are about giving our students the very best experience possible and embodies our ambition to provide them with all of the tools they need to achieve their aspirations.

To take a closer look at our facilities visit dmu.ac.uk/aad