Sustainable fashion textiles research : engaging with new technologies

This article provides a discussion about how new technologies will enable Fashion Textiles Research to be disseminated amongst a new generation of producers and consumers via interactive and web technologies. How appropriate are these methods for Fashion Textiles Research? What are the advantages of these mediums and what will this mean for researchers, producers and consumers now and in the future, as the traditional platforms such as Journal Papers and Conferences, become obsolete? Can we predict the future of communicating textile research by assessing the way in which research is being conducted with the use of electronic databases, the Internet and with the emergence of electronic journals?

Applications of nuclear radiation and radioisotopes to textile materials and processes : annual report for the period...

Contract no. AT-(40-1)-2477.

Textile testing : physical, chemical and microscopical /

Mode of access: Internet.

Löydöstä muinaispuvuksi : arkeologisten tekstiilien ennallistaminen

From a find to an ancient costume - reconstruction of archaeological textiles Costume tells who we are. It warms and protects us, but also tells about our identity: gender, age, family, social group, work, religion and ethnicity. Textile fabrication, use and trade have been an important part of human civilization for more than 10 000 years. There are plenty of archaeological textile findings, but they are small, fragmentary and their interpretation requires special skills. Finnish textile findings from the younger Iron Age have already been studied for more than hundred years. They have also been used as a base for several reconstructions called muinaispuku , ancient costume. Thesis surveys the ancient costume reconstruction done in Finland and discusses the objectives of the reconstruction projects. The earlier reconstruction projects are seen as a part of the national project of constructing a glorious past for Finnish nationality, and the part women took in this project. Many earlier reconstructions are designed to be festive costumes for wealthy ladies. In the 1980s and 1990s many new ancient costume reconstructions were made, differing from their predecessors at the pattern of the skirt. They were also done following the principles of making a scientific reconstruction more closely. At the same time historical re-enactment and living history as a hobby have raised in popularity, and the use of ancient costumes is widening from festive occasions to re-enactment purposes. A hypothesis of the textile craft methods used in younger Iron Age Finland is introduced. Archaeological findings from Finland and neighboring countries, ethnological knowledge of textile crafts and experimental archaeology have been used as a basis for this proposition. The yarn was spinned with a spindle, the fabrics woven on a warp-weighted loom and dyed with natural colors. Bronze spiral applications and complicated tablet-woven bands have possibly been done by specialist craftswomen or -men. The knowledge of the techniques and results of experimenting and experimental archaeology gives a possibility to review the success of existing ancient costume reconstructions as scientific reconstructions. Only one costume reconstruction project, the Kaarina costume fabricated in Kurala Kylämäki museum, has been done using as authentic methods as possible. The use of ancient craft methods is time-consuming and expensive. This fact can be seen as one research result itself for it demonstrates how valuable the ancient textiles have been also in their time of use. In the costume reconstruction work, the skill of a craftswoman and her knowledge of ancient working methods is strongly underlined. Textile research is seen as a process, where examination of original textiles and reconstruction experiments discuss with each other. Reconstruction projects can give a lot both to the research of Finnish younger Iron Age and the popularization of archaeological knowledge. The reconstruction is never finished, and also the earlier reconstructions should be reviewed in the light of new findings.

Effect of nozzle geometry on the flow characteristics of hydroentangling jets

Cone-capillary nozzles with varying cone angles from 10° to 120° and a capillary diameter of 120μ are experimentally investigated for their application in the hydroentanglement process. Cone-up and cone-down configurations in a range of water pressures of 30-120 bar are tested. The effects of the cone angle on flow parameters such as discharge and velocity coefficients and intact length are studied. Flow visualization techniques are used to recognize the flow regimes and characteristics and to inspect and compare the intact length and appearance of the jets. Cone-down nozzles with more consistent flow properties, lower discharges, and higher velocity coefficients are more suitable for the hydroentanglement process. Single-cone nozzles without capillaries and with varying cone angles are also tested. The flow properties of the jets from the single-cone nozzles are compared with the cone-capillary nozzles of the same cone angle to study the effect of the capillary section. The effect of the interaction of adjacent nozzles on the flow from multi-hole nozzles is studied, and the characteristics of the jets from the multi-hole nozzles are compared with the single-hole nozzles.

Large-scale electrospinning of polymer nanofibers using needleless nozzle

In this study, we have demonstrated that a rotating metal wire coil can be used as a nozzle to electrospin nanofibers on a large-scale. Without using any needles, the rotating wire coil, partially immersed in a polymer solution reservoir, can pick up a thin layer of charged polymer solution and generate a large number of nanofibers from the wire surface simultaneously. This arrangement significantly increases the nanofiber productivity. The fiber productivity was found to be determined by the coil dimensions, applied voltage and polymer concentration. The dependency of fiber diameter on the polymer concentration showed a similar trend to that for a conventional electrospinning system using a syringe needle nozzle, but the coil electrospun fibers were thinner with narrower diameter distribution. The profiles of electric field strength in the coil electrospinning was calculated and showed concentrated electric field intensity on the wire surface.

Relationships between sleeve trial and wearer trial assessment of discomfort and objective measurements

The relationships were investigated between the prickle discomfort scores, assessed by human response from wearer trial garment assessment, and sleeve trial, Wool ComfortMeter (WCM) and Wool HandleMeter (WHM) assessments of fabrics, and fiber diameter characteristics including mean fiber diameter (MFD). Sleeve trial assessment followed exercise, the use of a control sleeve to reduce participant variance and four sensory traits. WHM provides eight handle parameters calibrated against a panel of experts. Four scenarios were evaluated: sleeve trial assessment with MFD; sleeve trial assessment with MFD and WCM; sleeve trial assessment with MFD, WCM and WHM parameters; and sleeve trial assessment with WCM and WHM parameters. Data were analyzed using correlation and forward stepwise general linear modeling. There was no evidence that the incidence of fibers coarser than 30 µm aided the prediction of prickle discomfort once MFD had been accounted for in the models. There were significant correlations between the WCM measurement and each sleeve trial attribute. There was no significant correlation between WHM parameters and sleeve trial assessments. The sleeve trial attribute of ‘skin feel’ offers potential to improve the predictions made of wearer trial prickle discomfort when used in association of the WCM with or without data on fabric MFD. There was little evidence to support using WHM parameters with or without the WCM in predicting wearer assessed prickle discomfort of fabrics. These results indicate that the rapid evaluation of fabrics using sleeve trial assessment can provide cost effective ranking of consumer preferences.

The power of a single prototype : sustainable fashion textile design and the prevention of carcinogenic melanoma

Is there a role for prototyping (sketching, pattern making and sampling) in addressing real world problems of sustainability (People, Profit, and Planet), in this case social/healthcare issues, through fashion and textiles research? Skin cancer and related illnesses are a major cause of disfigurement and death in New Zealand and Australia where the rates of Melanoma, a serious form of skin cancer, are four times higher than in the Northern Hemisphere regions of USA, UK and Canada (IARC, 1992). In 2007, AUT University (Auckland University of Technology) Fashion Department and the Health Promotion Department of Cancer Society - Auckland Division (CSA) developed a prototype hat aimed at exploring a barrier type solution to prevent facial and neck skin damage. This is a paradigm shift from the usual medical research model. This paper provides an overview of the project and examines how a fashion prototype has been used to communicate emergent social, environmental, personal, physiological and technological concerns to the trans-disciplinary research team. The authors consider how the design of a product can enhance and support sustainable design practice while contributing a potential solution to an ongoing health issue. Analysis of this case study provides an insight into prototyping in fashion and textiles design, user engagement and the importance of requirements analysis in relation to sustainable development. The analysis and a successful outcome of the final prototype have provided a gateway to future collaborative research and product development.

Fashion design research : research methodologies for emerging researchers [Abstract]

This paper attempts to address some fundamental issues faced by new and emerging researchers in the discipline of Fashion design. A culture of patchwork research methodology appears to have become the norm in an attempt to ‘fit’ fashion design research into an academic paradigm for the examination of readers from more traditional research fields such as Arts, Humanities, Science and Philosophy. Two key questions are discussed here; is it appropriate for fashion researchers to adopt and adapt existing research methodologies to find a scholarly, academic voice? Secondly; do these methodologies enable fashion design research to be effectively disseminated to professionals and fellow researchers within the discipline of fashion design?

Ways of telling : tacit knowledge transfer for fashion design research

The knowledge and skills of fashion and textiles design have traditionally been transferred through the indenture of an apprentice to a master. This relationship relied heavily on the transfer of explicit methods of design and making but also on the transfer of tacit knowledge, explained by Michael Polanyi as knowledge that cannot be explicitly known. By watching the master and emulating his efforts in the presence of his example, the apprentice unconsciously picks up the rules of the art, including those which are not explicitly known to the master himself (Polanyi, 1962 p.53). However, it has been almost half a century since Michael Polanyi defined the tacit dimension as a state in which “we can know more than we can tell” (Polanyi, 1967 p.4) at a time when the accepted means of ‘telling’ was through academic writing and publishing in hardcopy format. The idea that tacit knowledge transfer involves a one to one relationship between apprentice and master would appear to have dire consequences for a discipline, such as fashion design, where there is no such tradition of academic writing. This paper counters this point of view by providing examples of strategies currently being employed in online environments (principally through ‘craft’) and explains how these methods might prove useful to support tacit knowledge transfer in respect to academic research within the field of fashion design, and in the wider academic community involved in creative practice research. A summary of the implications of these new ideas for contemporary fashion research will conclude the paper.

Ways of telling : research methodology for fashion textiles design

Research methodology in the discipline of Art & Design has been a topic for much debate in the academic community. The result of such avid and ongoing discussion appears to be a disciplinary obsession with research methodologies and a culture of adopting and adapting existing methodologies from more established disciplines. This has eventuated as a means of coping with academic criticism and as an attempt to elevate Art & Design to a ‘real academic status’. Whilst this adoption has had some effect in tempering the opinion of Art & Design research from more ‘serious’ academics the practice may be concealing a deeper problem for this discipline. Namely, that knowledge transfer within creative practice, particularly in fashion textiles design practice, is largely tacit in nature and not best suited to dissemination through traditional means of academic writing and publication. ----- ----- There is an opportunity to shift the academic debate away from appropriate (or inappropriate) use of methodologies and theories to demonstrate the existence (or absence) of rigor in creative practice research. In particular, the changing paradigms for the definitions of research to support new models for research quality assessment (such as the RAE in the United Kingdom and ERA in Australia) require a re-examination of the traditions of academic writing and publication in relation to this form of research. It is now appropriate to test the limits of tacit knowledge. It has been almost half a century since Michael Polanyi wrote “we know more than we can tell” (Polanyi, 1967 p.4) at a time when the only means of ‘telling’ was through academic writing and publishing in hardcopy format. ----- ----- This paper examines the academic debate surrounding research methodologies for fashion textiles design through auto-ethnographic case study and object analysis. The author argues that, while this debate is interesting, the focus should be to ask: are there more effective ways for creative practitioner researchers to disseminate their research? The aim of this research is to examine the possibilities of developing different, more effective methods of ‘telling’ to support the transfer of tacit knowledge inherent in the discipline of Fashion Textiles Design.