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Textiles As Material Gestalt: Cloth As a Catalyst in the Co-Designing Process

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Textiles As Material Gestalt: Cloth As a Catalyst in the Co-Designing Process View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Nottingham Trent Institutional Repository (IRep) Textiles as Material Gestalt: Cloth as a Catalyst in the Co-designing Process Katherine Townsend and Ania Sadkowska Katherine Townsend is an associate profes- ABSTRACT Textiles is the common language within sor in Fashion and Textile Crafts in the School Emotional Fit, a collaborative research project investigat- of Art and Design at Nottingham Trent Uni- versity. She has a background in the fashion ing a person-centred, sustainable approach to fashion and textile industry where she co-directed for an ageing female demographic (55+). Through the two independent labels based and worked as a freelance designer. Her current research co-designing of a collection of research tools, textiles projects, “Emotional Fit: Developing a new have acted as a material gestalt for exploring our research fashion methodology with mature women” and “The Electric Corset and Other Future participants’ identities by tracing their embodied knowl- Histories”, explore material and cultural edge of fashionable dress. The methodology merges issues in fashion, textiles and ageing and the Interpretative Phenomenological Analysis, co-design and use of costume archives to inform the design of e-textiles and wearables. Her research into a simultaneous approach to textile and garment design. the role of embodied knowledge in the digital Based on an enhanced understanding of our participants crafting of textiles was recently published in the chapter Closely Held Secrets, in Crafting textile preferences, particular fabric qualities have cat- Textiles in the Digital Age (Bloomsbury alysed silhouettes, through live draping and geometric 2016). She is co-editor of the journal of Craft pattern cutting to accommodate multiple body shapes Research, Intellect. [email protected] and customisation. Printed textiles have also been digi- tally crafted in response to the contours of the garment Ania Sadkowska is a fashion designer, lec- turer and researcher at Coventry University, and body and personal narratives of wear. Sensorial and United Kingdom. In the past, she worked tactile interactions have informed the engineering and as a Lecturer and Research Fellow at Not- scaling of patterns within zero-waste volumes. The article tingham Trent University, United Kingdom. Her research explores the intersection of considers the functional and aesthetic role of textiles sociology and psychology with art and design Journal of Textile Design Research and Practice Design Research Journal of Textile Journal of Textile Design Research and Practice Volume 5, Issue 5, pp 1–24 Photocopying permitted by license only DOI: 10.1080/20511787.2018.1449077 © 2018 Informa UK Limited, trading as Taylor & Francis Group 1 K. Townsend and A. Sadkowska practices. Current projects through the co-creative development of printed garment proto- span a variety of topics including fashion and ageing, types that explore the physical and emotional aspects of fashion masculinity, phenomenology, and ageing. Within the practice-led research, emphasis is placed and art and design research methodologies. Ania has on the participants involvement through manipulating and animat- presented work at various UK ing emerging textile and dress objects. The collaborative exchange and international conferences draws on fundamental connections between dress and personal and exhibitions including Italy, China, Sweden and United identity, utilizing cloth to mediate material and individual agency. States. Recently her research The methodology seeks to capture and enact values attributed to paper has been published in the Age, Culture, Humanities: material engagement through body-cloth dialogue. By reflecting on An Interdisciplinary Journal the longevity of particular items of dress we investigate how textile (special issue on Fashion and attachment can inform emotionally durable fashion solutions. Ageing). Since 2014, she has been involved in a co-creative research project titled “Emo- KEYWORDS: participatory research, embodied knowledge, co-crea- tional Fit: Developing a new fashion methodology with older tion, emotional fit, textile attachment, material engagement women”. [email protected] 1. Introduction Emotional Fit is an ongoing, collaborative research project which is developing a new, more holistic approach to fashion design for older consumers by engaging with them in the co-creative and socio-ma- terial process of making (Townsend et al. 2017b). By working with a group of over 40 women from Nottingham, aged 55+, we are exploring some of the physical and psychological issues that concern these indi- viduals, who are all part of the baby boomer generation (Gilleard and Higgs 2014). In this article we discuss some of the collaborative design- ing and making aspects involved in the project and how our partici- pants’ embodied understanding of fashion is strongly connected to the relationship between body image and the semantics of cloth; we focus particularly on how textiles act as a catalyst in their past and future lives in relation to their personalised self-identity and image (Kent 2017). The project was developed following a request from the participating group, who communicated their dissatisfaction with the current high street fashion offer to researchers in the School of Art and Design, Nottingham Trent University, leading to a co-creative investigation. The project was initiated in 2015 by Townsend with Sadkowska, practice-led researchers in fashion and textiles (e.g. Townsend 2004, 2011, 2016) and fashion and ageing (Sadkowska 2016; Sadkowska et al. 2016) in collaboration with pattern cutter and knitwear designer, Juliana Sissons (2010). In 2016 sen- ior fashion design lecturer, Karen Harrigan and research fellow, Katherine West joined the team. While each researcher was nominally assigned a particular role at the outset, based on their specialist knowledge and skills, as the project developed and grew, sensibilities and practices overlapped. The roles of the researchers and participants also blurred, resulting in every- one being engaged in the co-designing of the final experimental womens- wear prototypes. The methodology, whereby fashion and textile design are practiced with as opposed to for potential consumers, offers a fresh take on Journal of Textile Design Research and Practice Design Research Journal of Textile DIY and slow fashion and their value to society (von Bush 2009; Townsend et al. 2016; Twigger Holroyd 2017a). 2 The core aim of the research is to investigate the source of older women’s dissatisfaction with contemporary clothing by developing Textiles as Material Gestalt understanding of the perceived issues through a co-designing project. The temporary and mutable nature of “fashion” make it difficult to define and research, but “in spite of being ephemeral it is indexed in mate- rial form” (Woodward and Fisher 2014: 3). In this vein, by investigating items from the participant’s wardrobes as a starting point for a series of workshops and interviews, the researchers sought to understand their relationship with contemporary “dress objects” (Skjold 2016: 136), and how the “clothing and person were entangled” (Woodward and Fisher 2014: 5). The term “dress” is used here to define fashion as a form of universal bodily adornment (Benthall 1976; Polhemus and Proctor 1978, cited in Entwistle 2015: 42) with focus on the meanings and practices associated with particular garments (Barnes and Eicher 1992, cited in Entwistle 2015: 42). “Dress” also suggests the act of dressing and cov- ering the body encompassing the aesthetic concept of adornment [as] the choices made in getting dressed can be aesthetic as much as ‘func- tional’” (Entwistle 2015: 43), aspects of which we discuss here. The article is organized into two main sections, reflecting on Under- standing (Phase I) our participants experiences of textiles and dress, then acting on findings through Co-designing and Production (Phases II and III) as illustrated in Table 1. Section 2 summarises the Emotional Fit Methodology and its triangulation of interpretative phenomenal analysis (IPA), participatory/ co-design and simultaneous design (SDM) methods (Townsend et al. 2017b). Tracing Participants Embodied Knowledge of Textiles and Dress (2.1) presents examples of how textile attachment informs “emotional durability” (Chapman 2014) derived from interview analysis. The ‘textiles as a catalyst’ master theme identified through the IPA process (Table 2) is interpreted through two sub-themes: Textiles as Table 1 The Emotional Fit Research Model June 2015–April 2017 ©Emotional Fit 2015 Journal of Textile Design Research and Practice Design Research Journal of Textile 3 K. Townsend and A. Sadkowska Material Gestalt (2.2) which connects “material engagement” (Malafouris 2013) with individual agency; and by considering Surface Pattern as Embodied Narrative and Emotional Expression (2.3). Section 3 explores The Interrelating of Print, Fabric and Form based on interview findings and co-creative practice and How Textile Preferences Informed Garment Silhouettes (3.1) in terms of aesthetic and zero waste (Rissanen and McQuillan 2015) criteria. Bespoke prints were created by Connecting Past and Future Textile Narratives (3.2) followed by a process of Engi- neering and Constructing Printed Textiles as Research Tools (3.3) result- ing in “in-between” (Aakko 2016) garments, adapted in response to the feedback
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