Thursday class SDES3411_T2_2019_ Padlet activity by Smart textiles

Louisa:

2019-06-17 02:28:45 UTC

This garment allows the wearer to not only express their personal style but also their core emotions and reactions to the world around them though their clothing. This is done through sensors that communicate the brain’s activity, LED lights will shine in varied patterns and intensities to allow the garment to change with the wearers emotions, concentration levels and reactions to the world around them. This not only allows the dress to mimic the synapses in the brain, but is also reminiscent of the many animals that change their physical appearance to adapt to their surroundings.

This inspires me to continue looking at biomimicry and how fashion can mirror the natural world. I am particularly interested in bird’s nest. Birds, particularly Bowerbirds, build nests not just for protection and shelter for their young, but to attract a mate through aesthetics. I intend to mimic the purpose and method of construction of the nest in a fashion garment.

Bowerbirds use natural materials that are readily available to build nests, as well as colourful materials they find; which in modern environments are often plastic rubbish. I am interested in creating a fashion design that uses both existing materials and biodegradable plastic filament that can be 3D printed. I would like to create a garment through a close loop process and has a minimal footprint on the environment.

Casas, N., 2019. Synapse Dress. [online] Niccolocasas.com. Available at: [Accessed 17 Jun. 2019].

Cass, S., 2016. Anouk Wipprecht: dynamic dresses merge high fashion and technology [Resources]. IEEE Spectrum, 53(2), pp.19-20.

Wood, J., 2019. Bioinspiration in Fashion—A Review. Biomimetics, 4(1), p.16.

Fionna:

fionnasida — 2019-06-18 11:02:09 UTC

For this project I am inspired by the bio-mimicry of Hedgehogs.
From the visit to the museum I found out that the hedgehog spikes are not solely used to defense but it also acts a a shock absorbing system. The core of the spikes or quill is made out of foam like material which supports the spikes protects the animals during impact. The pressure is divided among the quills and this lessens the impact on the body.

My idea is to create a similar structure which could be weaved onto children wear to protect them when they fall or bump into something.
Production would be using 3D printing or silicon molding.

3D printing is an ever growing industry which provides many benefits to manufacturing and design sectors. However results tend to be static and lack multi purpose. Recently the new emergence of technology was developed to produce a 3D printed form which could shape shift. It is called 4D printing. These materials could change shape when exposed to different stimulus. However the process is strenuous. Potential modelling material such as poly(lactic) acid (PLA), for use in 4D printing is investigated and the concept of combining PLA with nylon fabric for the creation of smart textiles is explored. PLA possesses thermal shape memory behaviour and maintains these abilities when combined with nylon fabric that can be thermomechanically trained into temporary shapes and return to their permanent shapes when heated.

Eadie, L., & Ghosh, T. K. (2011). Biomimicry in textiles: past, present and potential. An overview. Journal of the Royal Society Interface, 8(59), 761–775. https://doi.org/10.1098/rsif.2010.0487

Leist, Steven K et al, ‘Investigating the Shape Memory Properties of 4D Printed Polylactic Acid (PLA) and the Concept of 4D Printing onto Nylon Fabrics for the Creation of Smart Textiles’ (2017) 12(4) Virtual and Physical Prototyping 290

Swift, N. B., Hsiung, B.-K., Kennedy, E. B., & Tan, K.-T. (2016). Dynamic impact testing of hedgehog spines using a dual-arm crash pendulum. Journal of the Mechanical Behavior of Biomedical Materials, 61, 271–282. https://doi.org/10.1016/j.jmbbm.2016.03.019

2019-06-19 03:59:41 UTC

Rebecca

Kate

2019-06-19 09:11:05 UTC

The image I have chosen is of two medical dressings that have been enhanced with chestnut honey. From my research, I found that honey aids the efficiency of would healing and has antibacterial properties. There seems to be clear evidence of the science behind its healing powers but little evidence of its implementation in the medical industry.

The other component that interests me of the medical textiles industry is the use of synthetic oil-derived materials in dressings and hygiene products and the effect this has on the environment. In the field of textile hygiene products, natural fibres such as bamboo and hemp are not currently used, as they are considered to be expensive. One of the articles that discussed the sustainability of alternative fibres in textile based hygiene products stated that hemp and bamboo fibres would have many desirable traits such as: “reduction of overheating by contact, high resistance to degradation by immersion, mechanical strength, and filtering capacity.” Interestingly, these fibres are suitable for direct contact to skin as they are natural and resistant to rubbing and ageing.

Based on this research, I would like create a dressing that is created from hemp fibre and utilises the healing properties of honey.

McCarthy, K. Brian, J. (2011). Textiles for Hygiene and Infection Control - 5.4.2.1 Polypropylene and Polyester (PET) - Sustainable Alternative: PLA (Poly-Lactic Acid) Fibre or Similar. Woodhead Publishing. Retrieved June 18, 2019 from
https://app.knovel.com/hotlink/pdf/id:kt00926HP1/textiles-hygiene-infection/polypropylene-polyester

van Langenhove, L. (2016). Advances in Smart Medical Textiles - Treatments and Health Monitoring - 4.4.1 Polysaccharides. Elsevier. Retrieved June 18, 2019 from
https://app.knovel.com/hotlink/pdf/id:kt010SLDS1/advances-in-smart-medical/polysaccharides

Vaishya, R. et al. (2017), Medical textiles in orthopedics: An overview. In Journal of Clinical Orthopaedics and Trauma. Elsevier. Retrieved June 18, 2019 from https://www-sciencedirect-com.wwwproxy1.library.unsw.edu.au/science/article/pii/S0976566217302436

Amara

2019-06-19 11:09:48 UTC

The textiles industry is now the second largest polluter to the earth[1], as the clothes that don’t sell, don’t last, or are discarded, leak chemicals into the soil and groundwater.

My aim is to develop a sustainable fibre from seaweed; one that is environmentally friendly through all stages of its lifecycle. As one of the fastest growing organisms on earth, seaweed kelp is renewable and does not require land, irrigation, filtered water, fertilisers or pesticides to grow. From the seaweed fibre, I aim to create a beach hat or wearable object that reflects the environment that originally produced the raw material, thereby promoting sustainable practice and closed-loop production within the industry. To establish a closed-loop production, reducing costs and conserving natural resources, I will look into recycling old items through the possibilities of water-soluble qualities in the fibre.

In order to achieve a sustainable seaweed fibre, I will need to experiment widely, possibly combining raw seaweed matter and other cellulose substance. This will only become clearer once further research and sampling begins. The fibre will first be produced as a paper-like material, and perhaps incorporates the use of laser cut patterns to create movement across its inflexible surface.

It is now vital that the textiles industry adopts sustainable material alternatives and practices in order to survive. As a highly renewable fibre, seaweed offers great possibilities to transform the fashion industry.

[1] https://www.nytimes.com/2018/12/18/fashion/fashion-second-biggest-polluter-fake-news.html

Scholarly Texts
Acaroglu, L. (2016). How Design Designs Us: Part 3 | The Ethics of Design. [online] Medium. Available at: https://medium.com/disruptive-design/how-design-designs-us-part-3-the-ethics-of-design-ca40e33f5842 [Accessed 11 Jun. 2019].

Muthu, S. (2017). Sustainable Fibres and Textiles. Duxford: Woodhead Publishing.

Orr, D. (1994). Earth in Mind. Washington: Island Press, p.105.

Ramesh Babu, B., Parande, A., Raghu, S. and Prem Kumar, T. (2007). Cotton Textile Processing: Waste Generation and Effluent Treatment. The Journal of Cotton Science, [online] pp.141-150. Available at: http://www.cotton.org/journal/2007-11/3/upload/jcs11-141.pdf [Accessed 11 Jun. 2019].

Asena

2019-06-19 11:42:09 UTC

Inspired by 3D printing and designer such as Iris Van Herpen and Danit Peleg have combined traditional with new materials and garment construction to create innovative designs. I believe that 3D printing can expand creative possibilities for the fashion industry by enhancing design quality and limiting manufacturing costs as well as zero waste production. I would like to see more 3D printed garments and accessories to be easily accessible to the general rather than seen only on the runway. Also taking the idea of zero waste and the idea of connected garments and textiles by being able to take a piece and being able to use and style different ways. Danit Peleg’s use of mesh design on the 3D printed garments have allowed the pieces to have movement and be flexible as seen in her first collection and graduation project, Liberty Leading the People. I am interested in exploring how these mesh designs can relate to the formation and designs of bee and wasp hives and how the natural form of these hives can influence my designs. Another example is Ministry of Supply’s 3D printed jacket ($250) that has no seams and instead has articulated joints to follow the body’s contours. The jacket is made of a 3D robotic knitting machine which results in no excess materials being wasted.

Corral, Laura C. and Walker, Kaitlyn J., "Exploring the Abilities of 3D Printing and its Viability for Consumption in the Fashion Industry" (2017). Apparel Merchandising and Product Development Undergraduate Honours Theses.

https://pdfs.semanticscholar.org/bcec/fabe3883522de2418fe4695b0580b0009a84.pdf

Pasricha, A. & Greeninger, R. Fash Text (2018) Exploration of 3D Printing to Create Zero-Waste Sustainable Fashion Notions and Jewellery.

https://link.springer.com/article/10.1186/s40691-018-0152-2

MA Cultural Economics and Entrepreneurship 2016-2017 Erasmus School of History, Culture and Communication Erasmus University Rotterdam. Fashion in an Era of 3D Printing.

https://pdfs.semanticscholar.org/8a3c/eefd0811814dc080ed0741f136f47339040d.pdf

Laura

2019-06-19 12:21:04 UTC

For this research project I have chosen to explore the relationship between the senses, particularly sound, and textile forms. For centuries textiles has been dominated by the visual sense. As consumers we base our decisions on what we wear or decorate our home with from an aesthetic point of view particularly in relation to colour, shape and pattern. Many researchers and designers have challenged the notion that textiles are only based on what is seen, by bringing in other senses such as sound into their work. An example of this is Lynne Mennie’s and George Jaramillo’s aural data design work that explores the visualisation of different sounds of birds which are applied to woven and embroidered pieces. In this project sounds of bird call outs and lapwings were recorded and then digitally manipulated into a spectrogram for weavers and embroiderers to visually read and apply to their textile making. The relationship between biomimicry, sound and textiles in this project has inspired me to create a textiles project that uses sound to not only visualise different ways of looking at pattern, but to also evoke memory and past events which are themes that are of interest to me in relation to textile practice.

1. Robertson, D 2017, “Sonic Textiles for Health and Wellbeing”, The Design Journal, Vol. 20, No. 5, pp. 683-692, accessed 12 June 2019 from Taylor and Francis Journals.

2. Mennie, J L, Jaramillo, S G 2018, “Aural Textiles: Beyond Visual Pattern Making”, Journal of Textile Design Research and Practice, Vol. 6, No. 2, pp. 222- 223, accessed 18 June 2019 from Taylor and Francis Journals.

3. Karanika, M 2014, “Looking at the Crossmodal through the Textile Medium”, Journal of Textile Design Research and Practice, Vol. 2, No. 1, pp. 89-108, accessed 18 June 2019 from Taylor and Francis Journals.

Bree

2019-06-19 12:54:29 UTC

After studying the process of dyeing textiles with bacteria in a Sustainable Design course I have been inspired to take on the journey of synthetic biology and biomimicry exploring the processes of dying textiles by directly growing bacteria onto silk and changing the way we rethink our relationship with clothes. Natsai Chieza is a designer who works at the intersection of biology and design utilising the living organism streptomyces coelicolour to dye textiles in a colour fast manner with barley any water.

The bacteria which is found in soil (what soil, I am still researching) produces and anti-biotic called actinorhodin and creates pigment molecules which range in colours of pink, purple and blue depending on the acidity of the environment. The bacteria is then ground directly onto silk in large petri dishes where each colony of bacteria produces pigment around its own territory. The process uses minimal water while producing a colourfast pigment without the use of chemicals. Furthermore a systematic way of guiding the pigment by twisting, folding, clamping etc to the fabric enables Chieza’s design team to generate organic patterns, uniform dyes and even graphic prints.

To bring this task to life I plan to begin testing/ searching/ growing bacteria and creating tests on silk and hopefully a pigment is produced and can be matched on a larger scale to create an organically printed fabric that can be transformed into a garment.

Boehnert, J. (2015). Ecological Literacy in Design Education - A Theoretical Introduction. FOR Makademisk, 8(1).
Volstad, Nina. and Boks, C. (2012). On the use of Biomimicry as a Useful Tool for the Industrial Designer. SustainableDevelopment, [online] 20(3), pp.189-199. Available at: https://onlinelibrary-wiley-com.wwwproxy1.library.unsw.edu.au/doi/abs/10.1002/sd.1535
Benyus, Janine. (1997). Biomimicry: Innovation Insipred by Nature. 1st ed. New York: William Morrow and Company, INC. New York.

Roisin

2019-06-19 13:24:59 UTC

The image I have chosen as my inspiration image is of “wafery” squares of fabric made out of vegetable waste such as the stalks, stumps, and peels of common vegetables like broccoli, asparagus, cabbage, sweet potato, and parsnip. These scraps are then pressed and dried to create beautiful organic patterns with a natural earthy colour palette. This aesthetic was very intriguing to me and prompted me to explore other materials that can be made from vegetable products.

From my research I discovered various methods of creating ‘bio plastics’. Design student Lucy Hughes, from the University of Sussex experimented with plastics made out of algae and explains how unnecessary it is to have such durable plastic materials that are hard to break down for single use items, such as the plastic on tissue boxes or takeaway food packaging. Through me research I also discovered a method containing glycerol and gelatine. This method allows you to experiment with different textures of plastic, from soft to rigid making them suitable for different purposes. These plastics can also be easily melted and re-moulded into different shapes.

This has allowed me to think about reuse and how bio plastics could be a new way to rethink how we upcycle fashion and the materials we select for them. My research has inspired me to create a range of accessories that can be worn, melted down and recreated into something new allowing your accessories to evolve with trends and personal style with zero waste.

Chawla, P, "Unlocking the aesthetic and functional potential within vegetable waste–The work of Angelique van der Valk.". in MaterialDriven, , 2019, [accessed 19 June 2019].

Davis, C, "The secrets of Bioplastic | FabTextiles.". in Fabtextiles.org, , 2019, [accessed 19 June 2019].

Kale, G, T Kijchavengkul, R Auras, M Rubino, S Selke, & S Singh, "Compostability of Bioplastic Packaging Materials: An Overview.". in Macromolecular Bioscience, 7, 2007, 255-277.

Michelle

2019-06-19 15:00:17 UTC

Sharleen

2019-06-19 22:41:32 UTC

Mental health awareness has been the main focus in recent public discussion amongst policy makers, philanthropists, creators, professionals and others. Through recent finding, the World Health Organisation (WHO) (2018) confirms an estimated of 300 million human beings are affected by depression, mostly women, with the average age group between 18 to 25. The common denominators are genetic, recent event, stress, personality, illness, change in the brain, drug and alcohol usage. It precipitated panic disorder, anxiety, insomnia, chronic pain, weight gain or loss, heart disease, change in the immune system, fatigue, difficulty concentrating or making decision. The subject deserves to receive equal attention and assistance as an individual suffering physical ailment, for many encounter disdain and stigma as the topic seems to be tabooed.

The project aims to fabricate a wearable vest to improve an individual’s mental health, by deflating and inflating in accordance to the heartbeat of the person. The use of sensors to recognise stress and anxiety, thermal circuit to supply power for the design and bio-technology to generate sustainable material will be conducted for the end product.

Research

1. Bio-Technology

2. Connected Garments and Textiles

3. Integrated Sensors

Precedent
https://www.dezeen.com/2015/02/15/vigour-pauline-van-dongen-martijn-ten-bhomer-textiel-cardigan-senses-movement/

Reference List
Reference List

Chen, M., Ma, Y., Song, J., Lai, C. F., & Hu, B. (2016). Smart Clothing: Connecting Human with

Clouds and Big Data for Sustainable Health Monitoring. Journal of Mobile Networks and Applications, 21(5), 825-845. Retrieved from https://link.springer.com/article/10.1007/s11036-016-0745-1

Hall, S. S., Kandinah, J., Saiki, D., Nam, J., Harden, A., & Park, S. (2014). Implication of Smart

Wear Technology for Family Caregiving Relationship: Focus Group Perceptions. Journal of Social Work in Health Care, 53(10), 994-1014. doi: https://doi-org.wwwproxy1.library.unsw.edu.au/10.1080/00981389.2014.925997

Park, S., & Jayaraman, S. (2003). Smart Textile: A Platform for Sensing and Personalized

Mobile Information-processing. Journal of the Textile Institute, 94 (3-4), 87-98. doi: https://doi.org/10.1080/00405000308630631

Sharleen\

2019-06-19 22:41:33 UTC

Sharleen

2019-06-19 22:41:34 UTC

Chen, M., Ma, Y., Song, J., Lai, C. F., & Hu, B. (2016). Smart Clothing: Connecting Human with

Clouds and Big Data for Sustainable Health Monitoring. Journal of Mobile Networks and Applications, 21(5), 825-845. Retrieved from https://link.springer.com/article/10.1007/s11036-016-0745-1

Hall, S. S., Kandinah, J., Saiki, D., Nam, J., Harden, A., & Park, S. (2014). Implication of Smart

Park, S., & Jayaraman, S. (2003). Smart Textile: A Platform for Sensing and Personalized

Mobile Information-processing. Journal of the Textile Institute, 94 (3-4), 87-98. doi: https://doi.org/10.1080/00405000308630631

Piper

2019-06-19 23:03:49 UTC

This textiles piece designed by Dana Zelig in collaboration with Professor Eran Sharon is a hybrid material called Lillies. It is made up of cotton and a responsive active material, that changes shape when the temperature drops or increases, resembling natural structures like leaves and flowers. This hybrid material is made up of passive textiles material and an active responsive gel made from a polymer network and water. The technology of laser cutting is implemented to create the shape of the material. The laser cut cotton is placed in a flat mold where the gel solution is added. Solution is absorbed and gel is polymerized, creating a hybrid sheet. This hybrid material responds to changes in temperature by changing the volume of the gel. The texture of the sheet varies from silk-like in low temperatures and rubber-like in the heat.

I am particularly interested in the design process involved in creating a hybrid textile. The work is primarily derived from natural materials, however its construction involves machine technology and digital design. In my experimentation I would like to test fabrics with similar responsive gels made from a polymer network and water. I will initially base my research on the science and methods for creating a hyprid fabric. Another approach I wish to take is through 3d printing, creating a “spine” for the fabric, allowing its structure to shift and change.

Ogoshi, T., Itoh, H., Kim, K. and Chujo, Y. (2002). Synthesis of Organic−Inorganic Polymer Hybrids Having Interpenetrating Polymer Network Structure by Formation of Ruthenium−Bipyridyl Complex. Macromolecules, 35(2), pp.334-338.

Crespy, D. and Rossi, R. (2007). Temperature-responsive polymers with LCST in the physiological range and their applications in textiles. Polymer International, 56(12), pp.1461-1468.

Hu, J., Meng, H., Li, G. and Ibekwe, S. (2012). A review of stimuli-responsive polymers for smart textile applications. Smart Materials and Structures, 21(5), p.053001.

Hannah

2019-06-19 23:08:56 UTC

The image I have chosen is of a high fashion piece work by Rei Kawakubo. The reason I have chosen this work is because of the texture that has been created. Although I know the work is made to be visually interesting, I think it is also interesting to consider the actual texture of the work.

Rei Kawakubo’s work, alongside an intrigue in the textures of coral provoked me to consider texture in fashion and how it is often visually appreciated but the overall ‘feel’ of a piece isn’t as important or considered. I did some research into braille and about touch in textiles which lead to a deeper consideration of sensory textiles, with less of a visual experience and instead bringing forward touch, smell, and sound. My project aims to create a range of textiles that showcase the senses of touch, smell, and sound which could be used in fashion that is inclusive of different sensory needs. I would consequently like to create a small range of fabrics that utilise 3D printing techniques onto sheer fabrics and then propose 2-3 different ways these could be designed into garments. I have begun research into the work that inspired me, some previous textile work that utilised scent in textiles works, and 3D printing techniques.

References:
Liu, Y, Tovia, F, Balasubramian, K, Pierce, J & Dugan, J 2008, ‘Scent Infused Textiles to Enhance Consumer Experiences’, Journal of Industrial Textiles, vol. 37, no. 3, pp. 263-274, DOI: 10.1177/1528083707083791

Sabantina, L 2015, ‘Combining 3D printed forms with textile structures - mechanical and geometrical properties of multimaterial systems’, IOP Conference Series: Materials Science and Engineering, vol. 2, pp. 1-5.

Skov, L 1996, ‘Fashion Trends, Japonisme and Postmodernism: Or What is so Japanese about Comme des Garçons?’, Theory, Culture & Society, vol. 13, no. 3, pp. 129- 151.

DOI:10.1177/026327696013003007.

Veronica

2019-06-19 23:11:07 UTC

The process where waste products are converted into new materials to create a better quality with a higher environmental value is called up-cycling. Up cycling is necessary as a substitute for producing new things to meet the increasing demands being a greener way of recycling. “Up-cycling reduces energy usage, water pollution, air pollution and CO2 emissions, working towards zero waste.” (Referenced from: https://www.researchgate.net/publication/316922048_Upcycling_of_Textile_Materials ).

There is no set material that is involved in up-cycling, however artists and designers are using just about anything such as latex gloves, cans, plastic, stockings, newspapers, milk cartons, tires, denim etc. Up-cycling can be done to better the environment it can also be done to reduce fabric wastage. Designer Etai Drori collects old Louis Vuitton Products and remakes them into custom made pieces. I am interested in working with denim fibres and up-cycling them into something new and exciting.

There are many uses for up-cycling textiles. Simply designers can up-cycle materials and products into wearable items, such as pants, hats, shoes, bags etc. Materials and products can also be up-cycled into forms making an environmental statement

Research Chemical Recycling
“In the case of chemical recycling, the old plastic is broken down into its original monomers by means of glycolysis, hydrolysis or methanolysis. These monomers are then used to manufacture new plastic granulate through polymerization. To this end, the quality of the recycled product is very close to that of new materials and it can be used to spin high-end yarn.” (Retrieved from: http://www.textilevaluechain.com/index.php/article/technical/item/247-recycling-of-plastic-bottles-into-yarn-fabric )

REFERENCES

Beard, N.D. (2008), “The branding of ethical fashion and the consumer: a luxury niche or mass-market reality? Fash”, Theory, Vol. 12 No. 4, pp. 447-467.

Beninger, S. and Robson, K. (2014), “Creative consumers in impoverished situations”, International Journal of Business and Emerging Markets, Vol. 6 No. 4, pp. 356-370.

Flowers, S., von Hippel, E., de Jong, J. and Sinozic, T. (2010), Measuring User Innovation in the UK: The Importance of Product Creation by Users.

Rani

2019-06-19 23:19:11 UTC

Wearable Light patterns
The lantern symbolises a wish for a bright future, it has been used for centuries in a number of different cultures and is a method for carrying light. I want to take this old technology and put it into a new context to create a smart textile garment, capable of carrying and displaying light patterns. To do this I will use LED lights and a laser cut fabric covering these lights to give the garment the appearance of a decorative lantern. Instead of digital or screen-printed fabrics, I want to create patterns that can change as you move around them and are in essence, patterns made up of light.

The technologies I am exploring are LED lighting in textiles and Laser cutting to create the lantern inspired effect. Martijn van Strien is a textile artist who released a range of laser cut garments for men and women. As seen in the photo below he is influenced by architectural structures that create patterns of light. PLED displays are small bulbs that are used for back lights, screens and electronic displays, these along with LED lights are becoming used more in textiles. Optical fibres are used to replace normal thread weaves and these create futuristic textile designs and are part of representing a bright future that the lantern symbolizes.

Dan Howarth, ‘Martijn van Strien launches experimental fashion label with laser-cut garments’, 21 October 2014, https://www.dezeen.com/2014/10/21/martijn-van-strien-mphvs-laser-cut-fashion-dutch-design-week-2014/

‘Application of laser technology in textile industry’, GAO Zong-wen,ZHANG Li,ZHAO Jia-xiang(Tianjin Polytechnic University,Tianjin 300160,China)

http://en.cnki.com.cn/Article_en/CJFDTOTAL-FZXB200608031.htm

Flexible displays for smart clothing: Part I—Overview, Indian Journal of Fibre & Textile Research Vol. 36, December 2011, pp.422-428

Cédric Cochranea,b, Ludivine Meuniera,b, Fern M Kellyb & Vladan Koncara,b,caUniv Lille Nord de France, F-59000 Lille, France bENSAIT, GEMTEX, F-59100 Roubaix, France

Fleur

2019-06-19 23:37:12 UTC

Project Proposal

Inspired by Janine Benyus’s research into biomimicry and Neri Oxman’s developmental work in fabrication technologies, my project aims to explore how the combination of these pursuits could shape the future of zero waste products. The goal of my project is to explore ways in which everyday clothing could use innovations in Carbon Dioxide (CO2) recycling to mitigate the concentration of CO2 in the troposphere. By capturing and storing excess CO2, the fully biodegradable wearables could then be buried or recycled in alternative ways at the end of its natural lifecycle. This proposed design will simultaneously be a means to reduce the surplus of CO2 in our atmosphere while benefiting from its collection.

Neri Oxman is already exploring these processes in her works with Chitosan, a bioplastic produced from the crushed shells of shellfish. My project will build off her research and look for ways to design products that disrupt the fast fashion industry, taking a cradle to cradle approach to its design.

Scholarly Articles

Alessandra Quadrelli, E., Centi, G., Duplan, J. and Perathoner, S. 2001, ‘Carbpn Dioxide Recycling: Emerging Large-Scale Technologies with Industrial Potential’, ChemSusChem, No. 4, pp. 1194-1215, accessed 14 June 2019 from Wiley Online Library

Fernandez, J. and Ingber, D 2014, ‘Manufacturing of Large-Scale Functional Objects Using Biodegradable Chitosan Bioplastic’, Macromolecular Materials and Engineering, No. 299, pp. 932-938, accessed 14 June 2019

Lal, R. 2—4, ‘Soil Carbon Sequestration to Mitigate Climate Change’, Geoderma, No. 123, pp. 1-22, accessed 14 June 2019 from Elsevier

Mandal, B.B. and Kundu, S.C. 2010, ‘Biospinning by silkworms: Silk fiber matrices for tissue engineering applications’, Acta Biomaterialia, No. 6, pp. 360-371, accessed 14 June 2019 from Elsevier

Oxman, N. 2015, ‘Templating Design for Biology’, Architectural Design, pp. 100-107, accessed 14 June 2019 from Wiley Online Library

‘Imaginary Beings (Doppelganger)’ 2012

Neri Oxman with W. Craig Carter

Taking inspiration from Jorge Luis

Borges’s Book of Imaginary Beings (1957), Oxman’s works exist between the natural and the mythical. They explore a possible future through the lease of augmented human biology.

Xanthe

2019-06-20 00:23:58 UTC

As the climate becomes increasingly warmer, the need for heating and cooling technology becomes evidentially more prominent. This means that designers need to become more aware of the ability to create materials with phase change properties. I was inspired by how elephants are able to regulate their temperature (but particularly to cool their body) through the fine web of veins in their ears. With this in mind, I wanted to create a material that is able to both heat and cool. Curtains for the Australian house was my first thought; Having a curtain that was able to move with the extreme heating and cooling that Australian households face. However, my idea has moved towards a more wearable textile. Creating baby blanket that is reactant to a baby’s body temperature. Having a device that is able to monitor a baby’s temperature and sleeping, and the material is able to react to that data by heating or cooling the infant. Using a similar idea to veins, the material is able to heat and cool like and elephant ear.

DI RIENZO, M., MERIGGI, P., RIZZO, F., CASTIGLIONI, P., LOMBARDI, C., FERRATINI, M. AND PARATI, G.

Textile Technology for the Vital Signs Monitoring in Telemedicine and Extreme Environments

Di Rienzo, M., Meriggi, P., Rizzo, F., Castiglioni, P., Lombardi, C., Ferratini, M. and Parati, G. (2010). Textile Technology for the Vital Signs Monitoring in Telemedicine and Extreme Environments. IEEE Transactions on Information Technology in Biomedicine, 14(3), pp.711-717.

KOCH, K. AND DOMINA, T.

Consumer Textile Recycling as a Means of Solid Waste Reduction

Koch, K. and Domina, T. (1999). Consumer Textile Recycling as a Means of Solid Waste Reduction. Family and Consumer Sciences Research Journal, 28(1), pp.3-17.

MATUSIAK, M. AND KOWALCZYK, S.

Thermal-Insulation Properties of Multilayer Textile Packages

Matusiak, M. and Kowalczyk, S. (2014). Thermal-Insulation Properties of Multilayer Textile Packages. Autex Research Journal, 14(4), pp.299-307.

Bianca

2019-06-20 00:37:05 UTC

I am particularly interested in Up-cycling for this smart textiles project. This is a process where waste materials are re-used and created into new items, which in turn decreases waste, energy and water use whilst also reducing pollution from carbon dioxide emitting machines and processes. The project ‘Ocean Plastic’ where adidas created a pair of sneakers using 100% recycled PET materials was inspirational in my choice of topic.

Up-cycling can be used across a variety of fields, and there is no limitation to what materials and/or fabrics can be used, this leaves endless opportunity for final products. Seaqual is a company who work with fishermen and ocean clean up programs to retrieve plastic from the ocean to then turn into yarn.

I have chosen an image of a repurposed fire hose by Elvis and Kresse who focus on sustainable and ethical reclaiming of materials up-cycled into luxury accessories. They use raw materials including fire hoses, boat sails, coffee sacks, cardboard and parachutes. I am interested in working with waste materials to create wearable textiles products, working in an ethical and sustainable way.

KOCH, K. AND DOMINA, T.

Consumer Textile Recycling as a Means of Solid Waste Reduction

Koch, K. and Domina, T. (1999). Consumer Textile Recycling as a Means of Solid Waste Reduction. Family and Consumer Sciences Research Journal, 28(1), pp.3-17.

Beard, N.D. (2008), “The branding of ethical fashion and the consumer: a luxury niche or mass-market reality? Fash”, Theory, Vol. 12 No. 4, pp. 447-467.

Alice

2019-06-20 04:40:58 UTC

For this assignment I have am interested in the way textiles can help and assist the human body, enhancing the functions of textiles garments to protect the body. In particular, the human skin is the largest organ we have, and the clothes we wear are the primary protectors for it. Skin conditions have long been a chronic pain and struggle for many, especially eczema which causes the skin to be inflamed, irritated, itchy and broken. This skin illness is currently incurable, however it can be facilitated and relieved. The goal of my project is to create a textiles which can help relieve eczema sufferers, the aim is to find a way to combine fibres with medicinal properties, whilst being sustainable and using primarily eco-friendly and natural materials.

Through my research, I found that the essential oil of eucalyptus globus (Eucalyptus Gum leaves) has antibiotic properties against Staphylococcus aureus (S. aureus) (Bachir R. and Benali M. 2012) , a bacteria known for causing and elevating eczema symptoms. Furthermore, the increased concentration of chitosan results in superior overall

stimuli responsiveness and excellent synergy between the antimicrobial activities of the hydrogel release of essential oil in cellulose cotton fibres (Štular, Šobak, Šest, Ilija, Ili´, Jerman, Simon, Tomši 2019). Chitosan is a very common bio product produced naturally in the exoskeleton of crustaceans and insects (spiders, shrimps, crabs, and lobster), and is biodegradable, biocompatible, and nontoxic (Roy, Salaün, Giraud, Ferri and Guan 2017), as well as having anti-bacterial properties which will help assist the skin of eczema sufferers. . Neri Oxmanm an innovative sustainable biomimicry designer, and her extensive work with chitosan, has also inspired me to work with this sustainable product. .

Reference:

Bachir R, Benali M. (2012) “Antibacterial activity of the essential oils from the leaves of Eucalyptus globulus against Escherichia coli and Staphylococcus aureus.”, National Center for Biotechnology Information, Vol. 2(9), pp. 739-42.

Štular, Šobak, Šest, Ilija, Ili´, Jerman, Simon, Tomši (2019) “Proactive Release of Antimicrobial Essential Oil from a “Smart” Cotton Fabric” Coatings Journal

(Roy, Salaün, Giraud, Ferri and Guan) (2017) “Chitosan-Based Sustainable Textile Technology: Process, Mechanism, Innovation, and Safety”, Intechopen p. 1-6
DOI: 10.5772/65259

Image Inspiration:
Chitin Bioplastic
https://www.dezeen.com/2013/10/30/coleoptera-plastic-made-of-beetles-by-aagje-hoekstra/

Caitie Hall

2019-06-20 08:32:39 UTC

Climate change is an ever-present issue that requires increased awareness and conversation if it hopes to be solved by 2050. The effects are being seen on a global scale, however, are specifically relevant in the context of Australia and its endangered Great Barrier Reef system experiencing irreversible coral bleaching, that could leave the organism dead inside of the next 20 years.

My project will aim to boost awareness of sustainable design and the issue of coral bleaching through exploring the textile technology of thermochromic pigments as well as utilising 100% recycled plastic fabrics. By 2030, the climate impact of the apparel industry alone is forecast to nearly match today's total annual US greenhouse gas emissions, emitting 4.9 giga-tonnes of carbon dioxide equivalent, therefore there is a apparent need for education and awareness concerning recycling and textile production with sustainability.

Thermochromics

thermochromic is defined as ‘the reversible dependence of colour on temperature’ (Aitken, Burkinshaw, Griffiths and Towns 1996). In the mid-sixties, laboratories started to develop thermochromic liquid crystal materials (Pistofidou 2018), but now these pigments can be found within everyday clothing and throughout primarily ski wear sectors of smart textiles.

Furthermore, my research also has discovered there are Inorganic thermochromic systems, but these have not been widespread within the textile industry as they often only occur given extremely high temperatures and can be irreversible. This therefore means I must utilise the practise of organic thermochromic fibres (Aitken, Burkinshaw, Griffiths and Towns 1996) , such as what is sold within the SFXC range of textile inks (https://www.sfxc.co.uk/collections/thermochromic-inks/products/thermochromic-screen-printing-ink-black-47-c?variant=6848934017). An experiment has been conducted by the University of Technology, Dehli, saw the reaction of Cotton and the Thermochromic fibres I intend to use, noting “The heat generation and temperature rise could be controlled by monitoring the voltage applied. The colour of the samples changed gradually with an increase in temperature, and significantly so when the temperature of the fabric rose beyond the activation temperature of the thermochromic colorant.”. In addition to this they also noted that “Wash fastness of the samples was found to be fair in all cases except with the yellow colorant.”. I will utilise this information when trialling and planning my garments, however I do not intend to use cotton, but instead Lyrica or recycled plastic fibres.

Throughout investigating of materials, I have found that I am able to purchase ink that I could potentially screen print onto swimwear or activewear fabric, however I will need to address these three questions:

1. How to make/produce biodegradable plastic fabric

2. How to print/make the thermochromic pigments on a water/active wear technology

3. How to make that reaction happen under water

References

D Aitken, S M Burkinshaw, J Griffiths and A D Towns. (1996) Textile applications of thermochromic systems, Department of colour chemistry and Dyeing, Leeds University, UK. http://dev.sdc.org.uk/knowledgevault/chris/1996RP001.pdf)

M Chowdhury, B Butola and M Joshi. (2012) Application of thermochromaic colorants on textiles: temperature dependence of colorimetric properties. Institute of technology, Delhi, India. (https://www.researchgate.net/publication/263230583_Application_of_thermochromic_colorants_on_textiles_Temperature_dependence_of_colorimetric_properties)

Karen Wain

2019-07-03 16:37:02 UTC

On the Wings of a Butterfly

The little butterfly sits perched on a small branch, its wings closed, exposing an array of colour on its ventral surfaces. She sits camouflaged blending with the leaves and branches surrounding her.

The butterfly flutters her wings in the breeze, opening them to display a colourful pattern that she knows will, when the time is right, attract a mate.

Closing her dorsal wings, she sits back and rests once again on the branch, her ventral wings closing around her. As she looks around she takes in the beauty of her surroundings.

Little does she know of the interest that has followed butterfly wings.

There is a complex and rich diversity in the beautiful colour patterning and pattern formation in butterfly wings that form spectacular examples of biology.

Colour patterning in butterfly wings is one of the most beautiful and amazing examples of pattern formation in biology. Complex and rich in diversity, butterfly wing colour patterns are connected to genetics and ecology, as well as developmental, biochemical and molecular evolution and food plant matter.

The adult butterfly wings starts to form in the larva stage, it remains transparent and colourless throughout this stage, right into the pupal stage that follows. Colours can be seen through the shell in the later pupal stage - one or two days before the butterfly is to emerge into an adult.

While the wings look transparent and colourless, it has been revealed using antibody fluorescent techniques that pre-patterning on the wing discs already existed. This has proven that butterfly wing patterns start in the larval wing disc in the early stages.

Concept

Bringing together a combination of textiles and the open-source electronic prototyping platform - Arduino, my concept is to design a prototype of a crocheted doll in the form of a butterfly girl. She will be made from wool and thread and filled with polyester fibre. Colourful wings will adorn her back and be removable. Highlighting the wings interactive little lights will shine adding interest and wonder.

References

Futurity, How Butterflies get Color Patterns on Wing Tops, July 5 2018, National University of Singapore, [website], https://www.futurity.org/butterfly-wings-apterous-a-1801942/

An Integrative Approach to the Analysis of Pattern Formation in Butterfly Wings: Experiments and Models, January 2013, Toshio Sekimura, [website] https://www.researchgate.net/publication/267214314_An_Integrative_Approach_to_the_Analysis_of_Pattern_Formation_in_Butterfly_Wings_Experiments_and_Models