Ida Sadriji

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Cutting-edge knitting: is this the future of textiles?

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A Piece of Paradise: Weaving Eco Friendly Fabrics In A Thai Back Garden.

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Prisoners at HMP Northumberland are recycling disused Ocado uniforms to reduce waste going to landfill and gain skills and experience to improve their rehabilitation.

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This Fashion Line Is Made Out of Trash Fishermen Pull from the Sea.

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VISIONARY KNITWEAR PRODUCER ZANNI MAGLIERIA PREDICTS A GREAT FUTURE FOR WHOLEGARMENT TECHNOLOGY.

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Luxury and Sustainability.

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Transparent Boundaries

“Where are the older people and why doesn’t society recognise their presence more in popular culture? (Dr. Don A. Grady, Elon University, North Carolina).

The community of the Elder is a trans-national and cross-cultural invisible web of connection. The demographic in developed countries is one of an increasing, and increasingly, aging population with many born today who will live to 100 and beyond. Societal attitudes to the elder differ from culture to culture, but in many countries there is an almost total non-representation in the media, except when problems occur.

Transparent Boundaries is about seizing a moment, changing attitudes, providing possibilities – now. This project proposes to make links across cultures and between generations to find ways to increase the visibility of the Elder as a vital force with a cultural contribution and impact to be included and referenced. This is a project of empowerment, which will take micro and macro approaches to create a place and space for dialogue and a new kind of visibility through relationships that function between and across cultures.

References:  For further info visit: http://transparentboundaries.com/about/

What role can textiles play to address loneliness amongst the elder in society and how would you use textiles to address a social problem or issue in society?

Reading from the National Unique Cultural Project earlier made me realise that yes i strongly believe that signs of loneliness do occur  when a person reaches to a particular age but how could I address this social problem to the society or further how could I involve textiles for a solution. My first solution would probably the internet -by opening a page advertising it, handing leaflets out and invite individuals with different cultures, nationalities, religions, skin colour and age to join in if they feel that they have too much time on their hands and are not sure what to do during a long day at home. Secondly, I would definitely do something that relates to my practice (knit), and one thing elder people are definitely good at is their knowledge to textiles may it be knit, embroidery,even weave. It is also important to stay active and engaged in your local community so working towards The Sleeping Bag Project means killing time and doing good, 2 in 1. Moreover, while doing so in this mini workshop communication skills come in handy which leads to learning new techniques from each other. I can imagine all these mini knitted samples combined together cresting 1 piece by linking each individual one forming a piece that could keep that someone in need warm in the sleeping bag during winter time. 

We need to stay connected to each other in that way we avoid others feeling lonely and unhelpful. Sharing news and stories from the past, sharing knowledge and kindness at the same time. All thanks to Textiles. 

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Hidden Socially Engaged Textile Histories

Three historical,socially engaging textile pieces from The Imperial War Museum.

Fig 1. Tapestry Purse-abstract design and gothic capital L.

This is a tapestry purse made by Captain G T Lambert RN (1922-1953) from canvas and wool sent by the Red Cross. The tapestry class he attended was a cover for listening to the news on a secret camp radio.

Fig. 2 "Overlord" Embroidery tapestry.

A section of the "Overlord" Embroidery tapestry designed by Sandra Lawrence and made by the Royal School of Needlework to commemorate D-Day and the Normandy landings in 1944 . The Overlord Embroidery was commissioned by Lord Dulverton of Batsford as a tribute to the sacrifice and heroism of those who took part. Inspired by the Bayeux Tapestry, it traces the progress of Operation Overlord and the events preceding it. The tapestry is 272 feet long and took five years to produce. The scenes it depicts are based on wartime photographs held by the Imperial War Museum.

Tapestry work is a technique that is quite familiar to me. I’ve first learned this technique back in college in my Art and Design Degree. Have to say it’s a really slow but relaxing at the same time. Different shapes and textures and colour yarns were a must for me. Iv’e only done small scale tapestry ruffly the same size as the purse made by Captain G T Lambert,more time is considered in larger tapestries such as the one from Grayson Perry for example and his 6 large tapestries which explore the British fascination with taste and class.

Fig.3 Sheet Decorated by Inmates, Changi Prison

Embroidered signatures are of internees from the Sime Road Camp, previously the women had been held at the Changi prison but were moved in May 1944. Many of the names can also be found on the three 'Changi quilts' made by the women during their first year of internment at Changi prison for the men imprisoned nearby. There are also embroidered pictures some of which are copied from the patches found on the 'Changi quilts'. Some of the names can also be found replicated on EPH 803 and EPH 6519, which are both embroidered tablecloths made in by women in Changi. 

None of these pieces really relate to my practise (Knit), however they are not unfamiliar to me as I have experience in embroidery as well as weave and tapestry.  Fig 2 and 3 are collaborative pieces and this is probably something I should consider into my practice. I have been involved in a few collaborative projects in my first year such as: The Blood Bag Project, Project: Unknown and instillations through out Contemporary Practitioner and maybe I should try and bring these back into my second year as I really enjoyed them and found them inspiring. Analyse and see how others approach and express  the same task is something I find really interesting,it gives me more ideas and shows me the level of work quality I stand in. 

References: 

http://www.iwm.org.uk/collections/item/object/30080631

http://www.iwm.org.uk/collections/item/object/205131483

http://www.iwm.org.uk/collections/item/object/30084494

 For further information on some of the inmates see: EPH 803

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Textile Thinking Research Centre

The Centre for Textile Thinking focuses upon four key areas: Science and technology, sustainable futures, craftsmanship and the handmade, enterprise and business engagement. The Centre is composed of creative practitioners, textile historians and technicians all of whom are committed to the creation and dissemination of high quality research in textiles at University of Huddersfield. The Centre promotes the development of practice led research as well as traditional theoretical approaches and supports a growing research culture through conferences, production of artefacts, patents, exhibitions and publications. Textile thinking has inspired and evolved our relationships with materials, space and form. The Centre aims to explore the future of textiles and surfaces within different industries, education and creative contexts.

Key emerging themes within the Centre include:

Science and Technology Exploring the mechanical origins of textile design and production; the Surface Materials sector is now one of the fastest-developing and innovative areas in the manufacturing sector.

Sustainable Futures For several years we have been warned about the impending resources scarcity such as water, land and fuel. The textiles industry has been identified as an industry with an immense footprint in terms of environmental and social impact.

Craft and the Handmade In recent years, the revival of the ‘hand-made’ has gained currency within the cultural and creative industries. From traditional economies of ‘doing-by-hand’ to new technologically-informed modes of making, ‘craft’ is exercising its diverse skills and practices on a global and local scale, for different causes, initiatives and audiences.

Enterprise and Business Engagement Focusing upon the bridge between higher education and the creative industries, exploring diverse topics and insights that take the enterprising future of the industry or the businesses of the textile and surface sector as focus.

The Centre comprises research-active teaching staff, including Professors, Readers, Research Fellows and Assistants. In addition, the Centre incorporates undergraduate and postgraduate student projects. Research projects, events and outputs manifest themselves in various ways, from individual stand-alone projects to formal research groups and informal groupings around areas of common interest.

References:  http://www.hud.ac.uk/research/researchcentres/tt/

For more information visit: 

Art and Design Postgraduate Guide

Research Centre Leader: Tracy Cassidy

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“Never doubt that a small group of committed people can change the world. Indeed, it is the only  thing that ever has.”

Margaret Mead, US anthropologist (1901 – 1978)

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Defining Activism

Activism

ˈaktɪvɪz(ə)m/ 

Noun

The policy or action of using vigorous campaigning to bring about political or social change. (Oxford English Dictionary Definition)

Activism is quite simply taking action to effect social change; this can occur in a myriad of ways and in a variety of forms. Often it is concerned with ‘how to change the world’ through social, political, economic or environmental change. This can be led by individuals but is often done collectively through social movements.

It’s not where you’re from; it’s not where you’re at: it’s what you do.

Many people can be classified as activists and many actions can be interpreted as activism, but this doesn’t mean that all activism is carried out by activists. The term activist itself is contentious, as what constitutes an activist and what actions can be defined as activism are often contested.

“The activist is a specialist or an expert in social change. To think of yourself as being an activist means to think of yourself as being somehow privileged or more advanced than others in your appreciation of the need for social change, in the knowledge of how to achieve it and as leading or being in the forefront of the practical struggle to create this change… Defining ourselves as activists’ means defining our actions as the ones which will bring about social change, thus disregarding the activity of thousands upon thousands of other non-activists. Activism is based upon this misconception that it is only activists that do social change.” (Andrew X - article Give Up Activism).

There are different types of activism:

1) Demanding solutions to contemporary problems through the taking of oppositional stances to mainstream policies.

2) Undertaking activism which manifests itself through the creation of alternatives to the dominant system through the construction of new ways of social behaviour.

3) Revolutionary activism that is concerned with fundamental change of society and its major institutions.

Paul Hawken highlights the scale of action that is occurring worldwide in his book Blessed Unrest where he estimates that there are over one-million groups working towards ecological sustainability and social justice in the world today. Hawken views this movement as a complex coalition of human organisations all working towards improving the world for the better. Many of these people struggle against oppression do not view themselves as activists or political, yet through their actions they clearly are fighting injustice and exploitation. Through writing his book he learned the following:

“Part of what I learned concerns an older quiescent history that is remerging, what poet Gary Snyder calls the great underground, a current of humanity that dates back to the Palaeolithic. Its lineage can be traced back to healers, priestesses, philosophers, monks, rabbis, poets and artists who speak for the planet, and other species, for interdependence, a life that courses under and through and around empires.” (p.5)

References: 

http://www.oxforddictionaries.com/definition/english/activism

http://www.permanentculturenow.com/what-is-activism/

Blessed Unrest – Hawken

Give up Activism – Andrew X

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Inspired by the Dubied knit machine as well as modern architecture I have created these structural manipulated samples using plain knit and hand stitch techniques. I have to say I really enjoyed the experimental side of it,taking risks and challenge my self to something new.

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Back to uni and my first 6 week project started with inspirational photographs that I have taken. These photographs been taken from a close up angle, focusing on the texture, colour, structure, shape and form. Analysing this Dubied knit machine led me to a broader thought of experimenting to create structural knitted samples with combined techniques using the same palette of colour/shades as on the photographs. 

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What is an Archive?

archive

/ˈɑːkʌɪv/

noun

1. a collection of historical documents or records providing information about a place,institution,or group of people.

verb    

1. place or store (something) in an archive.

Firstly, there are many different kinds of archives,such as: local history archives,museums collection archives,digital on-line archives,special collection archives,film archives,photography archives,textiles archives and many more.

Secondly, there also are different ways of arranging or ordering archives,for example: they could be ordered by colour,format,genre,continent or country,time/date/year or season,language,techniques,alphabetical order,numeric order,ordered in size etc.

I feel confident to say that almost every person has some sort or collection of an archive,people do and they might even not be aware of it.

Personally I have to say that i don’t even remember the first time I started collecting or gathering those little treasures. Going way back to childhood days even then I had an archive of pebbles,sea shells,barbie stickers,Pokemon/ Digimon and Yu-Gi-Oh cards, Diddl Mouse collections etc. All these arranges in numbers, textures,starts/strength/value and colour. From my teenage years and onwards I collected cards and postcards, photograph albums, opened a Pinterest account and started pining inspirational photographs which I ordered based on themes on to boards, then drawings and paintings I had done,today my room is full of sketchbooks and portfolios of all sizes with work done in them (they are just way to precious for me to throw away). 

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For this first 6 week project I’ve been taking inspiration from the Dubied machine as well as modern architecture to create manipulated/structural samples using plain knit and then combining hand stitched techniques after.

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Writing an Exhibition Review

This exhibition presents ten artists whose work draws on and responds to archives. These archives include art from Leeds Museum and Galleries Sculpture Collection, archival material from the Henry Moore institute, audio recordings from the British Library and digitized content from the Tate.

How are the pieces ordered or arranged?

Soon as I walked in to the exhibition Jill Townsley’s work has been the one that stood out to me the most. To begin with I could not understand the meaning behind her archive approach and why this collection of stones in varieties of sizes and shapes had been painted in bright colour nail vanish. However, I couldn’t  wait to find out more about context and purpose of it. To start off with her work was very organised, very straight and planned in every detail. every stone had been arranged and ordered as well as labeled with its size and description.

Fig. 1- Jill Townsley, Archive l:River Bottom 100 (2015) [100 dye sublimation prints on aluminium plate]. 

Is there a theme or a subject going on?

Townsley lives in Marsden  and while walking her dog she passes through this river  where she collected 100 stones of different sizes, textures and shapes. Townsley them measured each individual one and photographed them. As shown on her first archive Fig 1.

Fig. 2- Jill Townsley, Archive ll: Polished Stones (2015) [25 Perspex plates, inkjet prints nail varnish bottles]. 

How is the exhibition different from others I’ve seen?

On the second archive Townsley coats each individual stone with a particular colour nail vanish then rearranges them in a rainbow colour template with the characteristic nail vanish under the rephotographed and reorganized pebbles. I haven’t seen this kind of approach before, its different as usually I would expect a final product rather then something that has a deep meaning and context behind it.

Fig.3- Jill Townsley, Archive lll: Stones 100 (2015) [1000 stones painted with nail varnish].

Working using archives is something I’ve also considered in my own practice in my first year as well as currently in my second year at university. Finding inspirations from sculpture is one of them. I could say that myself and Jill Townsley have a few similarities in the way we approach our work such as being extremely neat to the point of perfection as well as bright use of colour. Differences, I would say I will consider including broader thoughts into my practice and take even further risks and the form of play. As well as visit further local archives to take my development further and gain inspirations for my work.

All photographs are taken by myself at the Huddersfield Art Gallery on 27 October 2015.

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Reading List – Annotated Bibliography

Sally B. and Catherine B. (01 September 2005). The Impact of the Second-hand Clothing Trade on Developing Countries Great Britain. Oxfam. GB.

This research report focuses on the global trade of second-hand clothing. The supporters of the second hand clothing industry point out that the trade creates employment in the receiving countries (transporting, cleaning, repairing, restyling, etc.). It also provides low-cost clothing for people living in poverty. At the same time, however, there are concerns that the trade maybe undermining local textile and garment industries, and livelihoods in some developing countries. This review was initiated to consider the evidence of the impact of the second hand clothing trade on developing country producers and consumers. It focuses particularly on West Africa, as Oxfam International is active in promoting the livelihoods of cotton farmers in the region and consequently has an interest in the regional textile and clothing sectors.

The text in this report has given me a wider understanding of what happens to the unsold clothes in charities such as Oxfam where an estimate of 90% of their stock doesn’t sell. Another thing in this report made me realize that exporting this 90% of textiles to countries such as West Africa means that local people will be buying these clothes as they will be cheaper in cost compared to local shops and retailers. That will lead high street fashion to dominate over traditional clothing and really imagine if every country had the same clothing! The uniqueness of that country and identification wouldn’t be as strong and special any longer.

Fig 1.  A second-hand clothing market in Kenya | Photo: Katrina Shakarian

References:

Fig.1 Image comes  from online article on : http://www.businessoffashion.com/articles/opinion/op-ed-the-trouble-with-second-hand-clothes

For more information visit: http://policy-practice.oxfam.org.uk/publications/the-impact-of-the-second-hand-clothing-trade-on-developing-countries-112464

Duncan C., Charlotte R., Sven E. and Robert K., The craft and the makers: between tradition and attitude (2014), Die Gestalten Verlag, Berlin.

This book is a showcase of crafted products created by small manufacturers. Craftsmanship is in more demand than ever. We are increasingly looking for products that last and have their own histories; things that meld form, function, and emotion into a compelling entity. Today, there are already many people who are not concerned with a logo, chasing the next trend, or contributing to a disposable society. They would rather seek objects of real value and own things with which they can truly identify. A decisive role is played by melding tradition and innovation -from the raw materials used to the finished product. The book introduces small enterprises as well as the personalities that drive them. These artisans are using their skills to produce handicraft that meets the highest standards.

This book has really lighten up my context in Designer Maker. Inspired by Here Today Here Tomorrow Fair Trade Story from Nepal. In my practice I have taken this forward by practising hand stitch techniques into knit and manipulating samples in a current/modern perspective. I will also use this for future projects by capturing dying techniques and practice them into future projects bringing that understanding and importance of knowing how products are made and who made them.

Fig. 2 Here Toady Here Tomorrow  Fair Trade. 

References: Fig. 2 image taken online from: http://www.heretoday-heretomorrow.com/blogs/here-today-here-tomorrow/18106276-we-know-who-made-our-clothes

To find out more visit :http://www.heretoday-heretomorrow.com/pages/the-fair-trade-story

http://hud.summon.serialssolutions.com/search?ho=t&l=en&q=ISBN%3A%289783899555486%29#!/search/document?ho=t&l=en&q=ISBN:(9783899555486)&id=FETCHMERGED-hud_catalog_10511142

Alison G. (2014), A practical guide to sustainable fashion, Fairchild Books, an imprint of Bloomsbury Publishing Plc, London.

Packed with full-colour images from contributors such as Vivienne Westwood, Stella McCartney, Edun and People Tree, A Practical Guide to Sustainable Fashion is a much-needed handbook for both students and professionals in the fashion and textile industries. Beginning with a reflection on current models of fashion design and production, this book introduces the key issues associated with the production, use and disposal of fashion clothing and gives step-by-step guidance on how to identify and evaluate the potential impacts of a garment during the design process. Packed with innovative examples of best practice from international designers and brands, chapters present each key stage in the life cycle of a fashion garment and explore approaches such as low-impact textiles techniques, sourcing and selecting fabrics and techniques, pattern making, garment construction, distribution, clothing care and maintenance, reuse and re-manufacture, and it also covers the following sustainable design approaches: zero waste techniques, design for durability, engaging with local communities, design for need, reducing laundering, design for repair, material recycling.

Wabi-sabi (wah-bee sah-bee) is a Japanese philosophy of seeing beauty in the imperfect, impermanent, and incomplete. A way of living that focuses. Reappearing objects with gold is something I find really interesting and consider doing in my future knit samples especially when by accident they fall off the machine or when stitches get missed, this will avoid waste by repairing them using hand stitch with golden thread.

Fig. 3 Japanese broken object where cracks are filled with gold, Wabi-Sabi.

References: Fig 3 image taken online from: http://www.thepsychicsforum.com/wabi-sabi/

For more information visit: http://hud.summon.serialssolutions.com/search?ho=t&l=en&q=ISBN%3A%289782940496143%29#!/search?ho=t&l=en&q=ISBN:(9782940496143)

Kate F., Sustainable fashion and textiles: design journeys (2014) 2nd edition, London.

"At last a book that dispels the idea that fashion is only interested in trend-driven fluff: not only does it have a brain, but it could be a sustainable one." Lucy Siegle, Crafts Magazine. Fully revised and updated, the second edition of Sustainable Fashion and Textiles: Design Journeys continues to define the field of design in fashion and textiles. Arranged in two sections, the first four chapters represent key stages of the lifecycle: material cultivation/extraction, production, use and disposal. The remaining four chapters explore design approaches for altering the scale and nature of consumption, including service design, localism, speed and user involvement. While each chapter is complete in and of itself, their real value comes from what they represent together: innovative ways of thinking about textiles and garments based on sustainability values and an interconnected approach to design. Including a new preface, updated content and a new conclusion reflecting and critiquing developments in the field, as well as discussing future developments, the second edition promises to provide further impetus for future change sealing Sustainable Fashion and Textiles: Design Journeys as the must-buy book for fashion and textiles professionals and students interested in sustainability.

I’ve been considering to work with another discipline such as science, engineering or graphic design not focusing on a product but rather the experience. For example the collaboration between artist Helen Storey and Chemist Professor Tony Ryan and their Wonderland project is a great inspiration for sustainability, where they investigate new solutions for the disposal of plastic packaging, they made a number of disappearing dresses that are made from dissolving textiles. As the dresses are lowered into water. 

Fig. 4 Wonderland- Helen Storey and Tony Ryan.

Reference: Fig 4 image taken online from: http://www.futuremorph.org/my-future-finder/fashion-textiles/real-solutions-for-a-more-sustainable-world/

More information can be found on:  http://hud.summon.serialssolutions.com/search?ho=t&l=en&q=ISBN%3A%289780415644563%29#!/search?ho=t&l=en&q=ISBN:(9780415644563)