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For this project I want to explore thermochromic inks. After the trip to the museum, I had a bit of a think about the different animals we see in nature that change colour as a reaction to something, to mimic something, or to blend into their surroundings. (think sea slugs, frogs, chameleons)

Taking it further from this, I wanted to create something that would bring awareness to the issue of air pollution. While currently there are several projects that explore colour changing reactions, there are only a handful that feature movement or another outcome like heat or sounds as the reaction.
I would like to try mesh this colour changing effect with a reaction to air pollution.
Thinking about where people would come into contact with different air pollutants, I figured mining, big cities, factory settings, are all places people come in constant contact with different air pollutants. So taking my textile interest and experience, I thought I would create a garment that could be worn in an everyday situation in the city.
Basically the idea is that the thermochromic inks will change colour with the change in temperature around us, as well as the fabric been through an enzyme bath, and the enzymes now present on the fabric will react to certain air pollutants in the way of movement.

Pulling this back to my original link to natural creature, I thought there are families of sea slugs that transform to mimic other species, to tell predators they are poisonous. And while not a direct translation, I thought it would be interesting to  make it a situation of, our clothing changing to mimic/show that we are in a 'poisonous' environment.

Projects that took my interest through similar concepts include Biologic.
Biologic is a project run by MIT researchers that designed a sweat/moisture responsive workout suit. The suit is coated in small dots of bacteria/living cells that when in contact with moisture, open up ‘vents’ within the fabric, so allow the user to cool faster.
http://news.mit.edu/2017/moisture-responsive-workout-suit-0519

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Eco-friendly Leathers. Making leather from bark and/or fish skins. By April Adams

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Eco-friendly Leathers. Making leather from bark and/or fish skins. By April Adams

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Materials
I want to explore different ways to make leather products, alternative to cow hide. The impact from environmental costs of land clearance and methane emissions involved in cow leather is not great for the environment. I believe there are more eco-friendly ways to produce leather products simply by looking towards our natural environment. I want to test making leather from tree barks and fish skins. It turns out people have been tanning fish skin for centuries. I will make samples of these and then try to patch work this into a “leather jacket” or maxi skirt  that is fashionable, practical and economical.
Also will dye some 100% cotton fabrics in clay baths to add complexity and softness to final wearable product.
Final Garment
The final garment will have a label #whomademyclothes.
Fashion Revolution is an organisation that supports the ethical rights for the person who made your clothes. Fashion Revolution shows the buyer via an online webpage who and how your garments were made. My idea markets this further by having a chip in the label tag that automatically plays a video detailing the making of the garment. Labels can implement this same technology into their garments for buyers to be aware of the making of their clothes.
Interactive technology 1
Lazer cut some designs in the sample pieces. Designs to be image of a bull/cow with the words "NO BULL."
Interactive technology 2
The final jacket or skirt will have a label attached to it, like you see in shops. This label can be scanned and my DIY video will play showing the making of the garment. ( i.e., how the materials were sourced, coloured and sewn)

Objectives

Fish tanning method - Fish skin ( such as salmon) vegetable oil, one egg yolk, dishwashing liquid, leather balm, sandpaper.

Bark Tanning- beeswax, vegetable oil.
Bark Tanning- beeswax, vegetable oil. sandpaper, slack.
QUESTION FOR TRICIA
HI Tricia, before I go ahead, i'd like to know if there is a technology, such as a computer chip/tag that can be scanned up to the clothing label and this then this sensors an automatic video being played from my computer. Is this achievable?

References
1;https://www.fashionrevolution.org

2; Marion Kite and Roy Thomson. 2006. Conservation of leather and related materials. https://books.google.com.au/books/about/Conservation_of_Leather_and_Related_Mate.html?id=62zZy2B4ehQC&redir_esc=y

2;  Melissa Grey and Bob Hunt. The USA's international trade in fish leather, from a conservation perspective. 2006. https://www.cambridge.org/core/journals/environmental-conservation/article/usas-international-trade-in-fish-leather-from-a-conservation-perspective. Abstract; looking at conservation consequences from fish leather consumerism and the environmental improvements

3; Beth Timms. Meet the fish leather pioneers. 2009, https://www.bbc.com/news/business-47806892

4; Bark cloth Tradition. https://www.barktex.com/en/products/bark-cloth/tradition

5; Fish tanning DIY
https://weteachme.com/ceres/1017400-ethical-fish-leather-tanning

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Soury N, 2015, Repositionnement du bébé dans son nid, ActuSoins, France, accessed 17 May 2019, http://www.actusoins.com/264695/premas-aux-petits-soins-dans-un-cocon.html

Getting a baby to sleep is a daily challenge experienced by parents. According to the National Sleep Foundation, both the hours and quality of a baby’s sleep pattern are fundamental for a healthy development. Sound therapy has demonstrated positive impacts on relaxing and calming babies to help them sleep easier(2003). Paediatricians recommend the sound of a heart beat, white noise or natural based sounds such as waterfalls and ocean waves(2002). Studies completed on babies that require intensive-care, more specifically premature babies, have shown the negative impacts of this situation for the physical and psychological development of the baby(2013). In order to balance true contact with the parents, a preemie cocoon has been created to put the premature baby into a good position, providing a wrapper-like protection similar to a cocoon(2013). Cushions for positioning newborns are used, some are filled with air and partially covered with fabric, others are made from viscoelastic, a very soft foam material(2013). For this project I would like to combine sound therapy with the technologies used in intensive-care hospital to create a cushion/cocoon that will recomfort premature and newborns babies. I would like to explore the material possibilities, as well as the use of laser cutting to realise my project.

References ( 3 scholarly articles)

2002. Sound therapy. Toronto, Ont.

2003. Baby Sleep Specialists Introduce Sleep Sheep(TM), Baby's Soothing Nighttime Companion. PR Newswire, 1.

2013. Patents

"Encounter and Contact Mattress Or Pillow for Small Children and Babies, Particularly for Premature Babies and Newborns" in Patent Application Approval Process. Atlanta.

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Soury N, 2015, Repositionnement du bébé dans son nid, ActuSoins, France, accessed 17 May 2019, http://www.actusoins.com/264695/premas-aux-petits-soins-dans-un-cocon.html

Getting a baby to sleep is a daily challenge experienced by parents. According to the National Sleep Foundation, both the hours and quality of a baby’s sleep pattern are fundamental for a healthy development. Sound therapy has demonstrated positive impacts on relaxing and calming babies to help them sleep easier(2003). Paediatricians recommend the sound of a heart beat, white noise or natural based sounds such as waterfalls and ocean waves(2002). Studies completed on babies that require intensive-care, more specifically premature babies, have shown the negative impacts of this situation for the physical and psychological development of the baby(2013). In order to balance true contact with the parents, a preemie cocoon has been created to put the premature baby into a good position, providing a wrapper-like protection similar to a cocoon(2013). Cushions for positioning newborns are used, some are filled with air and partially covered with fabric, others are made from viscoelastic, a very soft foam material(2013). For this project I would like to combine sound therapy with the technologies used in intensive-care hospital to create a cushion/cocoon that will recomfort premature and newborns babies. I would like to explore the material possibilities, as well as the use of laser cutting to realise my project.

References ( 3 scholarly articles)

2002. Sound therapy. Toronto, Ont.

2003. Baby Sleep Specialists Introduce Sleep Sheep(TM), Baby's Soothing Nighttime Companion. PR Newswire, 1.

2013. Patents

"Encounter and Contact Mattress Or Pillow for Small Children and Babies, Particularly for Premature Babies and Newborns" in Patent Application Approval Process. Atlanta.

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My Inspiration for my design is based of dresses from the past MET Gala’s. One of my inspirations is Zendaya’s dress, a Cinderella gown designed by Tommy Hilfiger for the 2019 Met Gala. The other dress that I am inspired by is the dress Katy Perry wore to the 2010 MET Gala. This dress is designed by Cut Circuit. The one-shouldered pale pink and white gown was lined with colorful, flashing rope lights and had a dramatic slit. The bioluminescence deep sea jellyfish is another animal that I am drawing inspiration from. ‘Bioluminescence is light produced by a chemical process within a living organism’

For my project I want to investigate illumination and LED light. I want to comment on fast fashion and look into ‘how the of-the-moment garments, has changed the way people buy and dispose of clothing.’  I will have to sew delicate wires into the garment and it does not have to be expensive.

American Museum of Natural History. (2019). How the Jelly Got Its Glow | AMNH. [online] Available at: https://www.amnh.org/explore/videos/oceans/jellies-down-deep/how-the-jelly-got-its-glow [Accessed 19 Jun. 2019].

Bick, R., Halsey, E. and Ekenga, C. (2018). The global environmental injustice of fast fashion. Environmental Health, 17(1).

FlashingBlinkyLights.com Blog. (2013). Make Your Own LED Clothing! Yes You Can! - FlashingBlinkyLights.com Blog. [online] Available at: https://www.flashingblinkylights.com/blog/index.php/2013/10/make-your-own-led-clothing-yes-you-can/ [Accessed 19 Jun. 2019].

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Marielle Birchall

Inspired by the work of Burton & Nitta - The Algae opera, I would like to create a work that draws on the symbiosis of algae & fashion to create modern fashion & homewares that produce a sustainable food source.

Recent findings have found that there is growing need for sustainable alternative farming practices that don't need soil (due to a recent report that has revealed the phosphorous is rapidly running out is soils). Climate change will not only bring a lack of phosphorus but due to overpopulation, temperature changes & pollution over the next 50 years it will be integral to find ways to promote 'living' biotechnology integrated in our day to day lives.

AIM: To create a dynamic and living fabric for the modern human that converts CO2 into O2 and produces nutrient dense food source.

OBJECTIVE: To create a fabric that can be used in fashion & homewares to improve the well-being of humans in a compromised environment. I hope to be able to create a textile that can increase oxygen levels (counteracting pollution) and addressing the need for farming practices that do not rely on traditional farming practices.

References:

Vaccari, David A. “Phosphorus: A Looming Crisis.” Scientific American, vol. 300, no. 6, 2009, pp. 54–59. JSTOR, www.jstor.org/stable/26001380.

Zhang, X.X. & Tao, X.M.. (2001). Smart textiles (1): Passive smart. Textile Asia. 32. 45-48.

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Kinetic surfaces design.                    

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Kinetic surfaces design.                    

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Aims to explore the possibilities of shape memory material in wearable technology and textile design. Shape‐memory alloys are capable of undergoing reversible phase transitions as a result of temperature, pressure, or other stress‐related changes. The two most prevalent shape-memory alloys are copper-aluminium-nickel and nickel-titanium (NiTi), which is widely apply in medical purpose such as fixation devices and dental braces. Therefore, “Memory alloy can be engineered to provide new design concepts that enhance the aesthetic appeal of knitted textiles for apparel.”(Rachael C.C. Winchester)For this project, I want to look into smart textile of kinetic surfaces design base on shape memory alloy to show the connection between human and surrounding environment. Hope to create something that is easy to use and eco-friendly. Hence I would like to use recycle fabric combine with two-way memory NiTi to change the form of the fabric according to the temperature. Project may use sensor devices and electronic device to achieve better performance of the shape.
Inspired by the work on New York Fashion Week - Architectural sportswear label Chromat unveiled a technology-enabled dress that expands and collapses based on the wearer’s body temperature, adrenaline or stress levels. Which is made from 3-D printed panels and an adaptable carbon fiber framework.
https://www.forbes.com/sites/rachelarthur/2015/09/15/a-dress-that-changes-shape-points-to-the-future-of-wearables-at-new-york-fashion-week/#72dbcce021bfRachael C.C.

Winchester, George K. Stylios, (2003) "Designing knitted apparel by engineering the attributes of shape memory alloy", International Journal of Clothing Science and Technology, Vol. 15 Issue: 5, pp.359-366,https://doi.org/10.1108/09556220310492624

Mingxuan Zhang, Jiuyu Du, Lishuo Liu, Anna Stefanopoulou, Jason Siegel, Languang Lu, Xiangming He, Xiaoyi Xie and Minggao Ouyang, Internal Short Circuit Trigger Method for Lithium-Ion Battery Based on Shape Memory Alloy, Journal of The Electrochemical Society, 164, 13, (A3038), (2017).

Chan Vili, Y. Y. F. (2007) ‘Investigating Smart Textiles Based on Shape Memory Materials’, Textile Research Journal, 77(5), pp. 290–300. doi: 10.1177/0040517507078794.

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My practice has often involved translating ephemeral stories and memories, making those sensed and felt experiences, often intangible, into tangible, visual objects. Wanting to further expand on this practice by approaching it from a new angle I wanted to look into how the auditory sense of our environment could be synthesised into a textile based artwork. A human’s sense of sound comes second to our sense of sight but informs how the visual is perceived and remembered, however this important sense needed for memory making is lost when trying make those felt experiences tangible. The objective is to go on walks and record the sounds that are experienced everyday in the city of Sydney and then work with those soundscapes to produce an interwoven exhibition piece that attempts to translate it visually. Through texture and material changes as well as employing the use of colour the piece would traverse visually the story of the initial sound based research. Additionally, using the lilypad Arduino system (Arduino designed for e-textile/wearable projects) or similar, the audio narrative would also be connected to the woven piece so that by tactically engaging with the piece it would activate the soundscape it was once derived from.

References

Milo A, Reiss J D, 2017, Aural fabric: an interactive textile sonic map, Proceedings of the 12 th International Audio Mostly Conference on Augmented and Participatory Sound and Music Experiences, vol 37, pp.

Yi E, Cho G, Na Y, Casali J, 2002, A fabric sound evaluation system for totally auditory-sensible textiles, Textile Research Journal, vol 72, no 7, pp. 638-644

Lee M, Cho G, 2009, Measurement of human sensation for developing sensible textiles, Human Factors and Ergonomics in Manufacturing, vol 19, no 2, pp. 168-176

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Biotechnology in textiles is as it sounds, the application of biological elements and reactions to textile practice, generally to enhance sustainability and the effectiveness of certain textile practices. The use of enzymes in dyeing practices, especially in natural fibres is being adopted more and more widely, using enzyme washes and treatment increases the sustainability and efficiency of the dyeing process because the react at lower temperatures and atmospheric pressures then natural fibres normally would allowing the dye to fix more quickly therefore having produced lower energy emissions and reducing the need for harm chemical fixing agents (“5. Enzyme Biotechnology for Sustainable Textiles - Knovel,” 2009; “Use of enzymes in dyeing and finishing,” 2003; Song, Imanaka, Imamura, Kajitani, & Nakanishi, 2010).

Enzymes are essentially catalysts of biological chemical reactions, so the breadth of their possible applications in textile processes is very broad (“Chemistry for Biologists: Enzymes,” 2019). Recently scientists have discovered the exact bacteria and chemical reaction that turns odourless underarm sweat into body odour. Normal deodorants kill all underarm bacteria and use the scent to cover unpleasant smells, however it is only one type of bacteria (axillary‐resident bacteria) that produce aldehydes, which cause body odour. Killing all underarm bacteria can harm normal skin function, as it also kills indigenous dermal bacteria which is essential for normal skin function. The article by N. Yoshioka et al. showed that the application of acetic acid bacterial enzymes reduced the concentration of body odour‐producing aldehydes by up to 98.7% (Yoshioka et al., 2018).

If this enzyme could be used in the production of active wear, it could potentially reduce the presence of body odour associated with physical exercise.

References

5. Enzyme Biotechnology for Sustainable Textiles - Knovel. (2009). Retrieved June 19, 2019, from https://app.knovel.com/web/view/khtml/show.v/rcid:kpSTLCEI05/cid:kt0083B0P1/viewerType:khtml//root_slug:5-enzyme-biotechnology-for-sustainable-textiles/url_slug:enzyme-biotechnology?kpromoter=federation&b-toc-cid=kpSTLCEI05&b-toc-root-slug=&b-toc-url-slug=enzyme-biotechnology&b-toc-title=Sustainable%20Textiles%20-%20Life%20Cycle%20and%20Environmental%20Impact&page=1&view=collapsed&zoom=1

Chemistry for Biologists: Enzymes. (2019). Retrieved June 19, 2019, from https://www.rsc.org/Education/Teachers/Resources/cfb/enzymes.htm

Greener Blue Jeans | Research UC Berkeley. (2015). Retrieved June 19, 2019, from https://vcresearch.berkeley.edu/bakarfellows/profile/john_dueber

Song, J., Imanaka, H., Imamura, K., Kajitani, K., & Nakanishi, K. (2010). Development of a highly efficient indigo dyeing method using indican with an immobilized β-glucosidase from Aspergillus niger. Journal of Bioscience and Bioengineering, 110(3), 281–287. https://doi.org/10.1016/j.jbiosc.2010.03.010

Use of enzymes in dyeing and finishing. (2003). Retrieved June 19, 2019, from ResearchGate website: https://www.researchgate.net/publication/291268221_Use_of_enzymes_in_dyeing_and_finishing

Yoshioka, N., Kurata, K., Takahashi, T., Ariizumi, M., Mori, T., Fujisawa, H., … Okuyama, Y. (2018). Body odour aldehyde reduction by acetic acid bacterial extract including enzymes: alcohol dehydrogenase and aldehyde dehydrogenase. International Journal of Cosmetic Science, 40(4), 425–428. https://doi.org/10.1111/ics.12473

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Infrastructure of skin cells through laser cutting

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Infrastructure of skin cells through laser cutting

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For this up-coming project I’d like to look into laser cutting that is currently being used in the fashion industry and its capabilities for producing intricate designs and extremely precise cutting.  I am interested in taking inspiration from the biology of skin cells and its microscopic value and translating this into a wearable item that conceptualizes a second skin. My aim is to use both traditional and technological methods of textile work including the laser cutter or 3D printing, embroidery and crocheting. Through this I would like to develop a wearable textile art form that brings together different skin structures from a selection of creatures. At the museum of natural history I was most drawn to the skin structure and exoskeletons of plants and animals combined. The project’s purpose will hopefully be to exhibit the silent language of the already existing infrastructure of microorganisms living on our bodies and how we interact with them. I will deconstruct each molecular structure from the skin and reconstruct it with fabric to mimic an environment where all organisms live harmoniously. I may also delve into skin conditions or the processes of adaption in relation to weather and temperature.

I have been inspired, in terms of concept, by Sonja Baumel who explores the connection between bacteria and the skin and how we can turn eventually turn this into fashion. Her investigations investigate the possibility for fibres to react to bacteria on the skin to create a complex environment and a network of thread.

Agapakis, C, 2012, Microcartography, Scientific American, accessed on the 14th June, https://blogs.scientificamerican.com/oscillator/microcartography/

Baumel, S, 2008, Textured self, accessed on 14th June, http://www.sonjabaeumel.at/work/bacteria/crocheted-membrane

Cirino, E, 2018, The Environment’s New Clothes: Biodegradable Textiles Grown from Live Organisms, Scientific American, accessed on 17th June https://www.scientificamerican.com/article/the-environments-new-clothes-biodegradable-textiles-grown-from-live-organisms/

Banu Hatice Gurcum & Fatma Bulat, 2016. LASER CUTTING AS AN INNOVATIVE CREATIVITY TOOL IN TEXTILE DESIGN. Idil Sanat ve Dil Dergisi, pp.107–130.

Kellett, Heidi, 2017 Skin Portraiture: Embodied Representations in Contemporary Art, Electronic Thesis and Dissertation Repository

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Heightened conscious awareness of breath and air flow. I aim to create a contemplative work to assist a response of slowing and observing ones self, juxtaposing todays society. Whether this is a garment which responds to your breathing whilst on the body, or an abstracted installation piece which responds to the viewers breathing, or a set breathing rate which the audience will then unconsciously match. This will depend on further experimentation into materials and the mechanisms needed to achieve the desired effect.

Ron Resch was an artist, computer scientist, and applied geometrist, known for his work involving folding paper, Origami Tessellations and 3D polyhedrons. His paper folding techniques enabled a intricate and fluid movement of an surface made purely from folds. After further exploration I intend to use similar techniques to create a surface which can move. Expand and contract.

The Snoösphere exhibition which ran as apart of the Big Anxiety at the end of 2017 at the UNSW galleries is an example of a installation which has a similar conceptual path to what I intend to take. A sensory realignment through hypersensitivity and activation of each sense within the space.

With the combination of these two aspects (Ron Resch’s work and The Big Anxiety), I intend to further develop a responsive textiles work which is able to engage the audience in self awareness. An area which I believe is crucial and missing to a large extent in todays society. The importance of mental health and allowing that time for the individual amongst the chaos of todays media driven society.

Mazzucchi, A (2017) A Kinetic Module for Modular Structures Based on Rigid Origami, Kim Williams Books, Turin, Accessed 18 June 2019, https://search-proquest-com.wwwproxy1.library.unsw.edu.au/docview/2024737481?rfr_id=info%3Axri%2Fsid%3Aprimo

Euvnäs-Moberg. K, Ehandlin. L, & Epetersson. M (2015) Self-soothing behaviors with particular reference to oxytocin release induced by non-noxious sensory stimulation, Frontiers in Psychology, 5, 1529. Accessed 18 June 2019, https://doi.org/10.3389/fpsyg.2014.01529

Reddy. D (2016) Shape Memory Alloys, International Journal of Engineering Research and Applications, 6(7), 56–58. Accessed 18 June 2019, Retrieved from https://doaj.org/article/11b93b0ccaf4427683a72c832b0cc980

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My idea was inspirited from the introduction of a type of sea slug in the museum which is titled “Masters of disguise”. As said, some sea slugs are able to alter their colors to mimic their toxic relatives so that they can trick the predator into leaving them alone. Considering the relationship between sea slugs and the sea environment, I thought of the relationship between the dancer and stage environment.

My proposed project is a wearable costume for the dancer that integrates colour changing smart technology. I aim to explore wearable pieces which is able to change colour while the dancer is performing on stage with the change of lighting, the change of music rhythm, and even the change of the dancer’s emotions(brain activity).

(The change of lighting and the change of the dancer’s emotions effect the color. The change of music rhythm effects the speed of the colour changing.)

A good dancer always throw herself into the dance which means with emotions, meanwhile, the music, the lighting and the stage setting are all important to the dancing. Therefore, my design aims to use colour changing costume to echo those parts during the dancing.

In order to deepen my idea, I did research about Lauren Bowker’s remarkable colour-changing clothes which changes colour depending on the surrounding environment. (She used a kind of ink that responds to UV light, heat and friction, changing colour in smoggy conditions and return to original in clean air.)
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Olivia S., Move over Global Hypercolor, colour-changing fashion just got a whole lot more stylish, https://www.mirror.co.uk/news/technology-science/technology/move-over-global-hypercolor-colour-changing-4274078, (accessed 18 Sep 2014)

Dan H., Clothes that change colour according to climate by Lauren Bowker, https://www.dezeen.com/2013/12/12/clothes-that-change-colour-according-to-climate-by-lauren-bowker/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+dezeen+%28Dezeenfeed%29, (accessed 12 Dec 2013)

The Unseen uses chemistry to create reactive fashion, Wired, https://www.wired.co.uk/article/lauren-bowker-the-unseen, (accessed 17 Oct 2015)

Rosamund U., Lauren Bowker: meet the 'textile alchemist' who is fashioning a brighter future with colour-changing clothes, https://www.standard.co.uk/fashion/news/lauren-bowker-meet-the-textile-alchemist-who-is-fashioning-a-brighter-future-with-colourchanging-a3096706.html, (accessed 22 Oct 2015)

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The artwork that has been inspirational to my research is a project developed by fashion, product and interface design students at the University of Berlin. Outsourcing is a shapeshifting hoodie, which uses shape memory alloys to react to the wears emotional and physical state in an abstract way.

Shape memory alloys are alloys which can deform and reform to a ‘remembered’ shape when heated and cooled or exposed to an electrical current. They can be ‘trained’ to take a particular shape when exposed to high heats.

The aim of my project is to design a functional smart garment which responds to changes in temperature, using shape memory alloys. For example the garment may react to heat by extending to provide additional sun protection or warmth, or contract in order to cool the wearer.

To achieve my goal, I am planning to further investigate existing uses of shape memory alloys in textiles, experiment with how shape memory alloys react to changes in body temperature and changes in environmental temperature, experiment with how an electrical current affects shape memory alloys and test different ways of incorporating shape memory alloys into a fabric.

Cabral, I., Souto, A., Carvalho, H. and Cunha, J. (2015). Exploring geometric morphology in shape memory textiles: design of dynamic light filters. Textile Research Journal, [online] 85(18), pp.1919-1933. Available at: https://search-proquest-com.wwwproxy1.library.unsw.edu.au/docview/1722982558?rfr_id=info%3Axri%2Fsid%3Aprimo [Accessed 16 Jun. 2019].

Chan Vili, Y. (2007). Investigating Smart Textiles Based on Shape Memory Materials. Textile Research Journal, [online] 77(5), pp.290-300. Available at: https://search-proquest-com.wwwproxy1.library.unsw.edu.au/docview/1671223205?rfr_id=info%3Axri%2Fsid%3Aprimo [Accessed 16 Jun. 2019].

Gök, M., Bilir, M. and Gürcüm, B. (2015). Shape-Memory Applications in Textile Design. Procedia - Social and Behavioral Sciences, [online] 195, pp.2160-2169. Available at: https://www.sciencedirect.com/science/article/pii/S1877042815037623 [Accessed 16 Jun. 2019].

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The aim of this project is to discover how light technology can be used in the contemporary textiles practice in the performance contexts. I propose to create a wearable object with a source of dynamic illumination that can visualize the sound in the environment.

This project started at visiting the natural history museum to find inspiration in the nature. I found inspiration from the ancient creatures, sea slugs (nudibranchs). Sea slugs are masters of disguise.  To ward off the predators, they can develop their colors to match the environment where they are. For the performers, the environment they engage with is the space constructed by the stage lighting, sound and music. The costume is their second skin that help them dive into the stage and produce creative performance. The way that sea slugs blend in with their surroundings inspires me to create a smart costume for the performer, which uses dynamic illumination to visualize the stage music.  To develop this idea, I look at the wearable light art practice of a Japanese artist, Erina Kashihara. Since 1985, the artist creatively use LED lights and female body to produce a futuristic mode of art.

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I’m interesting in up-cycling and reusing the leftover materials. The aim of my current project is to explore up-cycling and creating fashion out of sustainable materials. I want to create sustainable fashion items to raise awareness toward our environment and show other people that we can make beautiful clothes using textile waste. To me sustainable fashion means creating and maintaining a system which can be supported indefinitely in terms of human impact on the environment and social responsibility.

Studies show that Production annually used about 53 million metric tons of material, 87% after final use will be ended up abandoned in landfills or burned.In emerging markets, more than 65% of consumers actively pursuing sustainable fashion, one of the biggest positive market response is from China. In Hong Kong alone the textile equivalent of 16,000 garments ends up in our overflowing landfills every hour – and this has doubled since 2007. Incredibly around 95% of textiles that are thrown away each year can be reused, repaired or recycled. So why don’t we use this waste and make creative and beautiful clothes.

A fashion designer from Indonesia - Sarah Devina Susanto, Sarah’s fashion works have caught my attention. For her Redress Design Award (formerly the EcoChic Design Award)application, Sarah applies the up-cycling technique to cut-and-sew waste, hotel bedsheets and jute sacks, which are of great cultural importance in Indonesia, transforming them into beautiful clothes.

Ellen Macarthur Foundation (2017), A New Textiles Economy: Redesigning Fashion's Future

https://www.ellenmacarthurfoundation.org/assets/downloads/publications/A-New-Textiles-Economy_Full-Report.pdf

Business of Fashion (2017), The State of Fashion 2018

https://cdn.businessoffashion.com/reports/The_State_of_Fashion_2018_v2.pdf

Global Fashion Agenda and The Boston Consulting Group, Inc. (2017), Pulse of the Fashion Industry.
http://www.sustainabilityportal.net/blog/pulseofthefashionindustry

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Scensory experience and plant fibre leathers.

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Scensory experience and plant fibre leathers.

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The aim for my project is to create a wholesome sensory experience for a mental wellbeing. My idea is the re connecting of us to nature and natural textiles.
I want to make a functional textile piece made from woven plant material, creating a alternative leather or skin like material. Some examples I have been looking at and want to experiment with are flax, hemp, bamboo, nettle, corn, soy, coir fiber (coconut). Incorporated into this I want to make the creation into something more than just a textile but something that lives. I want it to be something that grows and that the audience can nurture and connect with. I am going to construct sections of the piece that exhibit herbs and all the amazing qualities these herbs bring. This creation can then be spread into the food, the tea and the bath of those who connect with the process.

https://www.ananas-anam.com/

Ananas Anam is a company that created Piñatex, a cruelty free alternative to leather made from pineapple waste.

References

Maller, C. and Townsend, M. (2006). Children's mental health and wellbeing and hands-on contact with nature. [online] Dro.deakin.edu.au. Available at: http://dro.deakin.edu.au/view/DU:30003638 [Accessed 2006].

Milligan, C. and Bingley, A. (2007). Health & Place. [online] ScienceDirect. Available at: https://www.sciencedirect.com/science/article/abs/pii/S1353829207000111 [Accessed Dec. 2007].

Sureshkumar, P., Thanikaivelan, P., Phebe, K., Krishnaraj, K., Jagadeeswaran, R. and Chandrasekaran, B. (2012). Investigations on Structural, Mechanical, and Thermal Properties of Pineapple Leaf Fiber-Based Fabrics and Cow Softy Leathers: An Approach Toward Making Amalgamated Leather Products. [online] Taylor & Francis. Available at: https://www.tandfonline.com/doi/full/10.1080/15440478.2012.652834?scroll=top&needAccess=true [Accessed 5 Mar. 2012].

Tucker, E. (2016). Leather alternative Piñatex is made from pineapple leaves. [online] Dezeen. Available at: https://www.dezeen.com/2016/06/09/pinatex-ananas-anam-vegan-leather-alternative-ethical-recycled-pineapple-leaves-sustainable-materials-design-camper/ [Accessed 9 Jun. 2016].

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The current aim for my up-coming project is to explore the emergence of combining sustainability and textiles. Sustainable fashion has evolved as a process of reducing the adverse effects of manufacturing waste and ‘throw-away’ clothing on the environment. This involves ‘post-consumer’ zero waste fashion, in which second-hand clothing is reverted into new garments so as waste, as the disposal stage of the product lifecycle, is reduced. As such, I intend to create a wearable, high-fashion textile that is constructed from repurposed neoprene material, derived from pre-owned wetsuits. Neoprene is a high-tech material that has numerous practical uses, and is the perfect candidate for repurposing due to its durability. The project seeks to create awareness of a need to recycle clothing, in addition to normal recycling. Design inspiration is drawn from The Post-Couture Collective, in which designs are laser cut from an innovative material recycled from PET-bottles, known as Spacer fabric, and then self-assembled by the consumer. It is encouraged that the fabric is then recycled again after it is worn. This holistic approach is the basis behind my project with an emphasis on integrating re-purposing into everyday life.

Brooks, A., Fletcher, K., Francis, R., Rigby, E. and Roberts, T. (2017). Fashion, Sustainability, and the Anthropocene. Utopian Studies, 28(3), p.482.

Kozlowski, A., Bardecki, M., & Searcy, C. (2012). Environmental Impacts in the Fashion Industry: A Life-cycle and Stakeholder Framework. The Journal of Corporate Citizenship, (45), p.17-36.

Martijn van Strien's The Post-Couture Collective provides downloadable fashion designs. (2015). [image] Available at: https://www.dezeen.com/2015/10/18/martijn-van-strien-the-post-couture-collective-customisable-fashion-dutch-design-week-2015/ [Accessed 18 Jun. 2019].

Smith, J. (1985). The Ten-Year Invention: Neoprene and Du Pont Research, 1930-1939. Technology and Culture, 26(1), p.34.

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The aim of my proposed project is exploring the possibility of using photochromic dyes for aesthetic purposes in textile design. Photochromic compounds have the unique characteristic of changing colour reversibly in response to stimulation from light, thus create opportunities to develop smart garments capable of blocking UV radiation, sensing environmental changes and display colour changing effects. Generally, commercially available photochromic dyes undergo colour change from colourless to colour, activated by ultraviolet irradiation. Factors of colour management are concentration of dye, paste formulation, application conditions, fabric type and UV Source. In terms of washability, colour fastness and commerciality, wash fastness for photochromic dyes is five washes, therefore may be suitable for end uses which do not require aggressive washing. After experimentation with photochromic dyes, I intend to integrate this process with laser cutting in creating a layered garment in which the laser cut surface will block sections of the fabric underneath which has been photochromic dyed. This will create a potential surface pattern under UV radiation, namely from the sun, and perhaps posit a more sustainable or convenient method in creating textile prints or surface design.

Christie, A. F. (2010). Textile applications of photochromic dyes. Part 1: establishment of a methodology for evaluation of photochromic textiles using traditional colour measurement instrumentation. Coloration Technology, 157-163.

Little, A. F., & Christie, R. M. (2011). Textile applications of photochromic dyes. Part 3: factors affecting the technical performance of textiles screen‐printed with commercial photochromic dyes. Coloration Technology, 275-281.

Tong Cheng, T. L. (2008). Fast Response Photochromic Textiles from Hybrid Silica Surface Coating. Fibers and Polymers, 301-306.

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Approachable 3D sustainable wearable apparel

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Approachable 3D sustainable wearable apparel

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Esther Leung

The goal for this up-coming project is to demonstrate and make 3D printing in fashion apparel more approachable and accessible to audiences across the creative industry and beyond. 3D printing (also called additive manufacturing) is defined  as “a process of making a three-dimensional solid object of virtually any shape from a digital computer model." 3D printing opens up to an array of possibilities to composition and structure, has the ability to be sustainable through calculated  construction minimising waste, and can be time efficient in the mock-up process (having digital files and scans that potentially minimises the need for physical material to visualise).

For the project, the goal is to use traditional hand-made textile elements (ie- knitting, sewing a garment base piece) to be interwoven with 3D printing technologies. The design will stay relevant to the current fashion trends and will be wearable. It will utilise recycled fabrics and plastics for a sustainable approach.

Taking inspiration from Irina Tosheva, a Macedonian name-sake fashion brand, and her Spring/Summer 2016 collection 'Riza'  which uses MK3D printing technologies and composition inspired by traditional Balkan dress into their Ready-To-Wear garments. (https://irinatosheva.com/portfolio-items/3d/)

Similarly, I was also inspired by Fashion graduate Ganit Goldstein's collection of outfits combining cotton yarn, digital printing, and 3D printing in thermoplastic material. (https://www.ganitgoldstein.com/)

References:
Catelli, A., Milligan, E. (2018).

Ready-to-Wear and Re-Wear — Meet Sustainable Fashion. Bloomberg Businessweek. Retrieved 15 June 2019: <https://www.bloomberg.com/news/articles/2018-08-17/ready-to-wear-and-re-wear-meet-sustainable-fashion-quicktake>

https://www.whichplm.com/rise-3d-printing-fashion/

Howarth, D. (2014). Coca-Cola and Will.i.am's 3D printer

uses recycled bottles as filament [online]. Dezeen. Retrieved 15 June 2019: <https://www.dezeen.com/2014/07/02/coca-cola-will-i-am-3d-printer-recycled-plastic-bottles/>

Lim, Hye-Won & Cassidy, Tracy. (2014). 3D Printing Technology Revolution in Future Sustainable Fashion. Research Gate: Chonbuk National University. Retrieved 15 June 2019: <https://www.researchgate.net/publication/273310310_3D_Printing_Technology_Revolution_in_Future_Sustainable_Fashion>

Mageen, L. (2018). The Rise of 3D Printing in Fashion. Product Lifecycle Management. Retrieved 16 June 2019: <https://www.whichplm.com/rise-3d-printing-fashion/>

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The current throw-away culture of fashion creates staggering impacts on the environment and our psychological relationship to the things we choose to spend our money on. The current shopping experience is flooded with environmental stimuli that could “impact shoppers’ impulsive buying tendencies.” (1) In addition to pressure from retailers to increase the number of seasons, “encouraging consumers to visit stores more frequently with the idea of ‘here today, gone tomorrow.’” ⁽²⁾ Fast fashion and the constant need to keep ‘on-trend’ means consumers are making low involvement, impulsive decisions which can act as a barrier to deep emotions and connections that could once be achieved through quality garments and textiles. As a result, personal meaning and care is lost; left abandoned in the pile of clothing waste we forget about once it leaves our sight.

The project ‘The Monster in my Closet’ seeks to bring the forgotten back into our lives, quite literally. Exploring issues of textile waste, the experimental installation piece will be used to visually represent the average quantity of textiles that the average Australian throws away. The work is expected to raise awareness and would be featured in gallery spaces across Sydney.

The installation piece will be created using repurposed textiles that will be intercepted from their route to landfill. Techniques including crocheting, weaving and sewing will be explored with the inclusion of Shape Memory Alloys (SMA) to create movement. The possibility for integrating thermo-responsive shape alloys into textiles creates the potential to develop textiles whose shape change are expressive. ⁽³⁾ The integration of movement will aim to personify the installation piece by making it appear to breathe. Lee et. Al (2007) state that “physical movement can easily attract people’s attention by visually changing its surroundings and can be independently expressed in the tangible space unlike graphical movement.” ⁽⁴⁾

1.     Lee, J. Johnson, K.K.P. (2009) Buying Fashion Impulsively: Environmental and Personal Influences, Journal of Global Fashion Marketing. 1 (1) https://www.tandfonline.com/doi/abs/10.1080/20932685.2010.10593055?casa_token=t4jrxCzCU5MAAAAA:4Qk7FdHMIwztB8z-qBNVn6uleI_vbS98929bPglKfpvl45lM56K61N0VzBLvY4o1GncevY5WJTbe

2.     Bhardwaj, V. (2010) Fast Fashion: Response to changes in the fashion industry, The International Review of Retail, Distribution and Consumer Research. https://www-tandfonline-com.wwwproxy1.library.unsw.edu.au/doi/full/10.1080/09593960903498300

3.     Cabral, I. Souto, AP. Carvalho, H. Cunha, J. (2015) Exploring Geometric Morphology in Shape Memory Textiles, Textile Research Journal. 85 (18) https://www.researchgate.net/publication/277606436_Exploring_geometric_morphology_in_shape_memory_textiles_design_of_dynamic_light_filters

4.     Lee, J-H. Park, J-Y. Nam, T-J. (2007) Emotional Interaction Through Physical Movement, Human-Computer Interaction: HCI Intelligent Multimodal Interaction Environments. https://link-springer-com.wwwproxy1.library.unsw.edu.au/book/10.1007%2F978-3-540-73110-8

Image: installation art by Hannah Friis

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Hanne Friis, The Juice from the trees,  2015-16

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Minimising waste and new sustainable fabrics

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Minimising waste and new sustainable fabrics

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For this assignment I am interested in looking at the reduction of waste in textile production as well as creating sustainable fabrics that lessen the industry’s current environmental impacts.  I am interested in being able to use fabrics made from natural fibres or recycled waste in garments that do not stand out as being ‘recycled’.  I think there has been a trend among fashion brands that whilst they use recycled fibres in their garments they are overtly ethical products and are thus only purchased due to their ethical creation.  For this I have sought inspiration from adidas’ collaboration with Parley where they integrate ocean plastics into their creations.  Similarity I have looked at Stella McCartney’s brand which since 2001 has been vegetarian - utilising vegetarian synthetic leather as well as finding ways to create more sustainable silk.  Both these brands have achieved creations that are fashionable and interesting to consumers.  I would like to see if there is a way I can use these environmentally friendly fabrics integrated into day to day brands that consumers regularly purchase from.  As well as this, I would like to look at more effective ways to cut patterns to minimise waste during product production.

References:

Basegio, T, Beck Leão, A.P., Bernardes, A.M., Bergamann, C.P. 2008, ‘Vitrification: An alternative to minimize environmental impact caused by leather industry wastes’, Journal of Hazardous Materials, vol. 165, no. 1-3, accessed 18 June 2019, <https://www.sciencedirect.com/science/article/pii/S0304389408015306>.

Kinge, A.P., Landage, S.M., Wasif, A.I. 2013, ‘Nonwoven For Artificial Leather’, International Journal of Advanced Research in Engineering and Applied Sciences, vol. 2, no.2, accessed 18 June 2019, <http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.694.9052&rep=rep1&type=pdf>.

Tao, X 2001, Smart Fibres, Fabrics and Clothing: Fundamentals and Applications, Elsevier, Netherlands.

Vegetarian leather 2019, Stella Mcartney, accessed 18 June 2019, <https://www.stellamccartney.com/experience/us/sustainability/materials-and-innovation/vegetarian-leather/>.