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The existence of a gap between art, design and craft has been historically argued. This argument has distanced theory from practice and has demeaned knowledge situated in the experience of tailors. The aim of this research is to explore and describe the elements that can reveal the existence of design thinking, design practice and concept of design in the craftsmanship of tailors in Bogota. The study describes the ideation/ creation process present in this craftsmanship and acknowledges the existence of a complete design process done by tailors. The study used a comparative case study design to explore and describe the elements that reveal an iterative design process. For each case analysis, synthesis, projection and communication were compared to identify patterns. In addition a participatory approach was used to involve participants in the research process. Analysis shows the existence of design elements in the craftsmanship of tailors. These elements are present through out the i.
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The production of clothing has several operational steps, such as industrial sewing, which is used on textile surfaces as a materialization resource, that is, the union of two or more layers of fabrics by sewing points that makes the object tridimensional. In this context, the research seeks to explore the possibilities of industrial sewing to be considered as a creative resource to generate innovative surfaces in clothing, anchored on three pillars: in the design approaches of Surface Design, in the technical aspects of industrial sewing and in characteristics of materials textiles. For this, an exploratory investigation was carried out, with application of experiments using four straight industrial sewing techniques in three grammages of fabrics. The results were categorized through the effects obtained on the surfaces as graphic, structural and graphic structural function, demonstrating to be a creative resource that can be explored at the beginning of the design of clothing prod.
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The present article aims to make a preliminary analyze regarding the fibrous composition of an "opreg"(part of a female folk costume composed of a richly decorated piece of fabric and long fringes applied on the lower edge) from the modern-contemporary period, using two micro-destructive methods: Scanning Electron Microscopy (SEM) and optical microscopy. In order to have a better understanding and a precise result, different fibres from the opreg were analyzed- brightly colored cotton yarn (green, pink, lilac) together with synthetic silver and gold composite yarns (lurex). Hand-made textiles have a very important meaning for our history, therefore it is imperious to know what kind of fibres were used in order to be able to create an adequate environment to preserve them. Further analyzes will be carried out in order to have a more detailed image about opreg characteristics and how it was obtained.
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Fashion designers are presented with a range of different methods for pattern cutting, and the interest in this field has grown rapidly over the past few years. This growth is both due to the publication of a number of works dealing with the subject in different ways and the fact that a growing number of designers emphasise cutting in their creative practices. Though a range of methods and concepts for pattern cutting are presented, the main body of these methods, both traditional and contemporary, is predominately based on a theoretical approximation of the body that is derived from horizontal and vertical measurements of the body in an upright position: the tailoring matrix. As a consequence, there is a lack of interactive and dynamic qualities in methods connected to this paradigm of garment construction, from both expressional and functional perspectives. This work proposes and explores an alternative paradigm for pattern cutting that includes a new theoretical approximation of the body as well as a more kinetic method for garment construction that, unlike the prevalent theory and its related methods, takes as its point of origin the interaction between the anisotropic fabric and the biomechanical structure of the body. As such, the research conducted here is basic research, aiming to identify fundamental principles for garment construction. Based on some key principles found in the works of Geneviève Sevin-Doering and in pre-tailoring methods for constructing garments, the proposed theory for – and method of – garment construction was developed through concrete experiments by cutting and draping fabrics on live models. Instead of a static matrix of a non-moving body, the result is a kinetic construction theory of the body that is comprised of balance directions and key biomechanical points, along with an alternative draping method for dressmaking. This methodology challenges the fundamental relationship between dress, garment construction, and the body, working from the body outward, as opposed to the methods that are based on the prevalent paradigm of the tailoring matrix, which work from the outside toward the body. This alternative theory for understanding the body and the proposed method of working allows for diverse expressions and enhanced functional possibilities in dress.
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Distinguished Scientist in Textiles and Apparel أ.د السيد أحمد النشار 1 Prof.Dr. ELSAYED AHMED ELNASHAR, Ph.D. Full-Professor of textiles & Apparel Distinguished Scientist in Textiles and Apparel Faculty of Specific Education, Kafrelsheikh University, Egypt. Editor in chief “SmarTex Research Journal” Print: (2090-634x) , Online: (2090-6358) https://www.researchgate.net/profile/Elsayed_Elnashar/stats EDUCATION: Ph.D. (2000): University of Helwan, Cairo, Egypt. Ph.D. thesis entitles "Design of Database for Forecasting the Specification of Woven Fabric Design for Ladies Dresses". Msc. (1995): Faculty of applied arts, University of Helwan, Cairo, Egypt. Entitle: "Effect of warp-ends densities distributions on some esthetical and physical properties of multi- layers woven fabric". Bsc. (1989): With a very good, "spinning, weaving &knitting Branch", from Helwan University, faculty of applied arts, Cairo, Egypt.
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The present text is looking to the ways in which the fabrics have been conceptualized in modern times by relying on designers’ point of view. Taking into account some referential figures of modern textiles design, we have distinguished between three different conceptions: the fabric as surface (and object of decoration, as defined by William Morris), the fabric as construction (as defended by Anni Albers), the fabric as membra- ne or interface (as proposed more recently by Joanna Berzowska or Philip Beesley). Besides the historical relevance, these concepts testify of the technical and scientific advancements and last, but not least, of the paradigmatic changes that took place on the way we con- ceive the matter.
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