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  • 1.
    Dumitrescu, Delia
    et al.
    University of Borås, Faculty of Textiles, Engineering and Business.
    Landin, Hanna
    University of Borås, Faculty of Textiles, Engineering and Business.
    Kooroshnia, Marjan
    University of Borås, Faculty of Textiles, Engineering and Business.
    Talman, Riikka
    University of Borås, Faculty of Textiles, Engineering and Business.
    On researching and teaching Textile Design: examples from the Swedish School of Textiles2018In: Soft Landing / [ed] Nimkurat, N., Raebild, U., Piper, A., Helsinki, Finland: Cumulus International Association of Universities and Collegies in Art, Design, Media , 2018, 3, p. 72-87Chapter in book (Refereed)
    Abstract [en]

    Artistic research in design is relatively new compared to experimental research in the natural sciences but it has matured a great deal over the last decade. Its extensive development has brought new challenges to professional practice, and also raised questions regarding how knowledge should be imparted in academia. By examining the field of textile design, which has traditionally been taught in close synergy with professional practice, we can discern the emergence of doctoral theses that have brought not only new perspectives to textile practice but also a new role to the design educator as a researcher within the academia. One of the challenges that design education program are facing, however, relates to creating a better connection between research and education in order to continually enrich curricula with new developments in the field, so that basic knowledge and novelty can interact. By looking closely at the development of the research environment at The Swedish School of Textiles and the interaction with undergraduate and postgraduate education, this chapter describes how research has informed the development of textile design education.

  • 2.
    Peterson, Karin
    et al.
    University of Borås, Faculty of Textiles, Engineering and Business.
    Talman, Riikka
    University of Borås, Faculty of Textiles, Engineering and Business.
    Merging Formable Textileas and Flexible Moulds: In search of new design methods and expressive qualities in the fields of textile and fashion.2018Conference paper (Other academic)
  • 3.
    Talman, Riikka
    University of Borås, Faculty of Textiles, Engineering and Business.
    Changeability as a quality in textile design2019Licentiate thesis, comprehensive summary (Other academic)
    Abstract [en]

    The tendency to wear out and change is inherent in most materials, but – aside from a few exceptions – has been considered to be undesirable by both the industry and consumers. The work presented in this licentiate thesis suggests that, due to change in some form being an inherent property of textiles, it may be viable to look for alternative ways of designing and perceiving textiles that accept change as one of their qualities.

     The experimental work explores change as a quality in textiles from the perspective of the textile material, and examines irreversible changes in textiles from three different perspectives: form, use, and teaching changeability in the field of textile design. Changes in colour, pattern, texture, and structure were explored by developing knitted and woven textiles using materials with pronounced changeable properties, and exposing these to various stimuli, such as outdoor conditions and use in workshops.

    The experiments suggest that the combination of material and structure defines how textiles change when exposed to various stimuli. A material’s properties define what the textile reacts to and how, while the structure of the textile influences how it changes through the amount and placement of materials. In addition, time and the handling of a textile shape the exact changes that take place.

    Designing with changeability as a quality in textiles opens up for alternative possibilities as regards creating expressions, wherein time and change are design variables alongside more traditional qualities, and could encourage a diversity of lifespans and changes over various timescales, better connecting textiles to the properties of their raw materials. This may mean that an alternative method for evaluating quality based on change instead of permanence could be viable, wherein the notion of permanence as a sign of quality in textiles is questioned.

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  • 4.
    Talman, Riikka
    University of Borås, Faculty of Textiles, Engineering and Business.
    Designing for changeability in textiles2022Doctoral thesis, comprehensive summary (Other academic)
    Abstract [en]

    The tendency to wear out and change is inherent in most materials, yet textiles are usually designed to retain a single expression. Within an experimental, practical work, materials that are inherently changeable were used to create woven and knitted structures in order to approach textiles from the perspective of changeability and explore what this might mean for the field of textile design. This was undertaken in order to improve our understanding of what designing textiles that change over time means for the practice of designing textiles.

    The experiments explored changes in colour, texture, and structure within single textiles, and used textural changes to create form based on three variables: material, textile structure, and the stimuli textiles were exposed to. Further experiments explored the potential applications of these textiles in the context of fashion and interiors. The outcomes of the experiments showed that how materials are treated and used influences a textile’s expression and properties and how these change over time. 

    The research presented in this thesis suggests an alternative way of perceiving and designing textiles: as things that are changeable. The changes in the properties, expressions, aesthetics, and uses of textiles could be embedded during the design process through three interconnected variables: time, change, and context of use. This further suggests an alternative conception of quality for textiles which is based on the aesthetics of change, in terms of when, how, and as a result of what a textile changes. Such a perspective could even encourage an increased acceptance of changes occurring in textiles, and help to re-establish a connection between people, the textiles that surround them, and the materials that textiles are made of.

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  • 5.
    Talman, Riikka
    University of Borås, Faculty of Textiles, Engineering and Business.
    Designing for multiple expressions: Questioning permanence as a sign of quality in textiles2019In: The Journal of Textile Design Research and Practice, Vol. 6, no 2, p. 201-221Article in journal (Refereed)
    Abstract [en]

    Developing alternative materials and methods of production and recycling is crucial to achieving more sustainable, circular textile practices. In addition to these, a shift in how textiles are perceived may well be needed. Textile practice has long sought to create textiles that, regardless of their material or post-production treatments do not subsequently change in expression, eliminating the fading of colors and wearing out of materials. Questioning this in order to evaluate quality, durability, and aesthetics may open up for greater circularity through extending product lifetimes, and allowing change to be embraced rather than delaying the signs of aging. This paper presents work that challenges the notion of permanence as a sign of quality in textiles by shifting the focus towards creating textiles that are capable of developing different visual expressions over time.

    By examining the natural changes in color of materials in plain and Jacquard-patterned woven textiles made of several materials, this paper explores the possibilities relating to designing textile patterns that can evolve in multiple different directions from one starting point. Textiles woven with a combination of different materials were used in various contexts, including outdoors, in order to explore how the materials reacted. The resulting color combinations varied depending on what conditions the material was exposed to, suggesting a more versatile view on the aesthetics of textiles.

    The results indicate that various colors, patterns, and structures can be achieved from one starting point, indicating that an alternative definition for quality, based on the aesthetics of change, may be viable. The natural aging of materials could be used in design processes to embed evolving patterns, colors, or structures in textiles, reconnecting textile products with the inherent, changeable qualities of materials. 

  • 6.
    Talman, Riikka
    University of Borås, Faculty of Textiles, Engineering and Business.
    Weaving sequential changes: designing textiles with multiple embedded stages2021In: DESIGN CULTURE(S): Cumulus Conference Proceedings Roma 2021. Volume #2 / [ed] Di Lucchio L., Imbesi, L., Giambattista, A. & Malakuczi, V., Aalto: Aalto University , 2021, Vol. 2, p. 1873-1890Conference paper (Refereed)
    Abstract [en]

    The development of dynamic materials has changed the ways in which textiles are designed, but few research projects have investigated multiple sequential changes in textiles. This paper explores the design of textiles with the ability to undergo transformations involving multiple stages. Dynamic shrinking, hardening and dissolving yarns were combined in industrially woven structures to create a collection of five textiles, the texture, size, thickness, and number of layers of which were possible to change through heat and moisture. The fabrics were used in two workshops, and a series of prototypes was developed to explore potential application areas. The outcomes of the experiments show that textiles can transform in several stages through alterations to their properties, and that it is possible to embed this in their structures. Further research is needed on potential applications and how to better integrate textiles into product design processes.

  • 7.
    Peterson, Karin (Researcher, Creator)
    University of Borås, Faculty of Textiles, Engineering and Business.
    McQuillan, Holly (Creator)
    University of Borås, Faculty of Textiles, Engineering and Business.
    Walters, Kathryn (Creator)
    University of Borås, Faculty of Textiles, Engineering and Business.
    Talman, Riikka (Creator)
    University of Borås, Faculty of Textiles, Engineering and Business.
    Critical Textile Topologies: Experiments at the intersection of surface, textile and form.2021Artistic output (Refereed)
  • 8.
    Dumitrescu, Delia (Researcher, Designer)
    University of Borås, Faculty of Textiles, Engineering and Business.
    Talman, Riikka (Researcher, Designer)
    University of Borås, Faculty of Textiles, Engineering and Business.
    Landin, Hanna (Curator)
    University of Borås, Faculty of Textiles, Engineering and Business.
    Petreca, Bruna (Curator)
    Royal College of Art.
    Townsend, Riikka (Curator)
    Aalto University.
    Entangled: reimagining textile functionalities, aesthetics and sustainability2023Artistic output (Refereed)
    Abstract [en]

    In the collection of artefacts presented in this exhibition, textiles are seen as active elements in their environments – being able to react to environmental stimuli by changing their shape, colour or other qualities, exhibiting behaviours similar to e-textiles but without using electricity. Drawing parallelism to biological materials, some of these changes are two-directional and thus can lead to reversible changes, whereas some are linear and irreversible, such as ageing. As examples of two-directional changes, textile designs based on UV reactive properties: colour changing, light emitting, and self-cleaning, as well as textile constructions based on newly developed yarns capable of reversible shape changes upon exposure to heat, are exhibited. On the other hand, the colour changes of natural dyes dictated by the ambient environment and the response of new PLA yarns bring about elements of irreversible change. When two-directional and linear changes coexist, the appearance (and thus aesthetics) of the artefacts is constantly altering. The timescales contained in these textile transformations vary significantly, creating an interesting interplay of diverse and sometimes intersecting qualities. These concepts are approached from different levels of study – from developing new advanced materials for making yarns to exploring different textile crafting methods for producing diverse textile structures, construction and aesthetics, as well as moving towards shape-morphing 3D textiles, where exposure and disappearance of different properties as a function of changing textile shape can occur.

  • 9.
    Dumitrescu, Delia (Designer)
    University of Borås, Faculty of Textiles, Engineering and Business.
    Kooroshnia, Marjan (Designer)
    University of Borås, Faculty of Textiles, Engineering and Business.
    Keune, Svenja (Designer)
    University of Borås, Faculty of Textiles, Engineering and Business.
    Talman, Riikka (Designer)
    University of Borås, Faculty of Textiles, Engineering and Business.
    Kapur, Jyoti (Designer)
    University of Borås, Faculty of Textiles, Engineering and Business.
    Exhibition on on-going research, experimental work and prototypes in textile design from the Smart Textiles Design Lab at Techtextil 2017 in Frankfurt on 9-12th May 20172017Artistic output (Unrefereed)
  • 10.
    Talman, Riikka (Designer)
    University of Borås, Faculty of Textiles, Engineering and Business.
    Exhibition on on-going research, experimental work and prototypes in textile design from the Smart Textiles Design Lab at the PhD exhibition at “Shaping (Un)common Grounds”, ArcInTex-conference, Eindhoven, the Netherlands on 2014/10/13-172014Artistic output (Unrefereed)
  • 11.
    McQuillan, Holly
    University of Borås, Faculty of Textiles, Engineering and Business.
    Peterson, Karin
    University of Borås, Faculty of Textiles, Engineering and Business.
    Walters, Kathryn
    University of Borås, Faculty of Textiles, Engineering and Business.
    Talman, Riikka
    University of Borås, Faculty of Textiles, Engineering and Business.
    Experiment 0 - tunic and trousers: Väv – hantverk för alla / Weaving - crafts for everyone2021Artistic output (Unrefereed)
    Abstract [en]

    Experiment 0 tunic and trousers: cut but unshrunk, shrunk on mould, uniformly shrunk [6 pieces]

    Cotton and polyester

    These textile-forms do not require new technology, only rethinking how existing technology is currently used and understood. Using an innovative design process that enables the production of 2D woven textiles with the form embedded into the weave structure, these structures and heat-reactive fibres produce zero waste garments (or other textile-forms) through cutting and heat-forming over a 3D mould, with minimal or no assembly required. The textile-form can also be uniformly shrunk or altered with heat over many alternative forms to manipulate its form further at any stage of this lifetime. The overall aesthetic expression of the garment – its texture and form – emerges from the making process, and is therefore unique to each textile-form.

    This process transforms garment construction from what is usually a labour-intensive hand process to an almost fully automated one – and front loading or reversing the 'craft' of making to the design stage, while leaving the design perpetually ‘unfinished’. Each different decision and the sequence of alteration becomes an extension of the design and prototyping process, unveiling connections and unintended consequences of earlier decisions and material choices.

  • 12.
    Peterson, Karin ()
    University of Borås, Faculty of Textiles, Engineering and Business.
    Talman, Riikka
    University of Borås, Faculty of Textiles, Engineering and Business.
    Weaving Form, Forming Weave: Submitted as an exhibition proposal under the track ‘Critical Textiles’2019Artistic output (Refereed)
    Abstract [en]

    The traditional method of cut and assemble in garment making is accused of disregarding the importance of the materiality of textiles, and the three dimensionality of our body. Our joint venture aims to address this gap by investigating the expressive possibilities of woven textiles with inherent form-giving qualities in conjunction with garment moulds, similar to Miyake’s self-forming weaves (Howarth 2014) and Brown’s ideas on the relationship between form and surface (Brown 2013). Changes in texture, size and shape of the textile and the placement of openings for limbs inform the shape of the mould and the placement of the textile on the mould. 

    Likewise, the form of the mould informs the shape of the garment through the textile’s ability for change. This allows for close communication between textile and form as both are developed in conjunction, from initial sketch through to final garment. The moulds are obtained using a method of ‘reversed crafting’, mimicking processes found in glass and ceramics where the space between body is addressed whilst treating form giving and crafting of surfaces as a simultaneous act of doing and thinking. Formability is embedded in Jacquard woven multi-layered fabrics through combining heat reactive shrinking yarns with stable base materials. Stops and seams are added in the fabric while weaving, creating a raw shape for the garment. 

    The results are presented as 4-6 form experiments in scale 1:4, arrived at in collaboration with material, body and digital and analogue tools. Process images illustrate the relationship between the weave and the mould in the form giving processes of dress. Together, we suggest a renewed focus on the tangible materiality of textiles when forming garments in interplay with the three dimensional form. Further, the work proposes alternative methods for design making and thinking at the intersection of textile and fashion design.

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