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TEXTILE TECHNOLOGIES IN CONCRETE ENVIRONMENTS." Morrow, R., & Belford, P. (2007). TEXTILE TECHNOLOGIES IN CONCRETE ENVIRONMENTS.". 103. Paper presented at ARS TEXTRINA INTERNATIONAL TEXTILES CONFERENCE., Belfast, United Kingdom. http://s3.amazonaws.com/academia.edu.documents/30833689/ars_textrina_papers_2007.pdf?AWSAccessKeyId =AKIAJ56TQJRTWSMTNPEA&Expires=1383751962&Signature=cUKiVJy8rebvAzW0lxHOiun2trY%3D&respon se-content-disposition=inline#page=103 Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:29. Sep. 2021 UNIVERSITY OF LEEDS ARS TEXTRINA INTERNATIONAL TEXTILES CONFERENCE 10th & 12th September 2007 Textile Territories: Past, Present and Future A Selection of Papers Edited by K. Wells (University of Ulster) & J. Winder (University of Leeds) University of Ulster, Belfast, Northern Ireland, UK Copyright remains with the authors Contents Page Avila, S.T. Promoting Sustainability: A Silk Company’s Longevity and 4 Environmental Awareness. (University of California, USA) Belford, P. Digitally Crafted. (University of Ulster, UK) 6 Ben-Yehuda, N. Flax – Line and Tow. (Bar Ilan University, Israel) 9 Britt, H. Locating Digital Technologies. (Glasgow School of Art, UK) 12 Brooks, M.M. As Essential as Food or Guns’. Retrieving Forgotten 15 Regenerated Protein Fibres Developed in the Context of World War II. (University of Southampton, UK) Campbell, D. Ewart Liddell Archive. (University of Ulster, UK) 20 Campbell, J.R. Using Juried Textile Art Exhibition as Context for Artists to 23 Communicate Transferable Knowledge: Research Territory for Artists. (Glasgow School of Art, UK) Cecil, B. Characterisation of Cotton Brocade of Kodali Karuppur; A Traditional 28 Indian Textile. (Chemical Conservation and Research Laboratory, Government Museum, India) Chan Vili, Y.Y.F. The Evolution of Kimono Textiles in the Interests of Preserving 32 Tradition. (University of Leeds, UK) Cho, H. and Wilson, J. The ‘Tree of Life’ its Concept, Image, Symbolism and 36 Origins, and its use as an Inspiration for Contemporary Textiles. (University of Manchester, UK) Cihi, C. From Traditional to Contemporary. (Marmara University, Turkey) 40 Clements, L.M. and Smith, J.A. Reinterpreting the Aesthetics of Japanese 42 Katagami Stencils through New Technologies. (University of Leeds, UK) Crangle, A. Polypropylene Textiles: Past, Present and Future. (University of 48 Ulster, UK) Dormor, C. Mind the Gap: Locating and Mapping Haptic-Scopic Chiasma 54 Experienced within Textile Practice. (Norwich School of Art and Design, UK) Fairclough, D. and Feeney, C. Fashion Retailing and Leisure & Tourism within 58 the United Kingdom and the Emerging European Market. (Manchester Metropolitan University, UK) Gaston, E. Colour Effects in Two Colour Stranded Knitting. (University of Leeds, 64 UK) Godfrey, P. The West Riding Ruggers in Yorkshire. (Leeds Metropolitan 69 University, UK) 2 Hann, M.A. The Great Pazyryk Felt – A Stylistic Analysis of a Deep-Frozen 72 Treasure from Kurgan Number Five in the High Altai. (University of Leeds, UK) Harris, C. The Use of Cad within an Undergraduate Textile Design Degree. 76 (University of Leeds, UK) Jae Sook, K. and So Ra, L. Effects of Perceivers' Internal Traits on Evaluating 79 Sensory Images of Fashion Materials. (Chungnam National University, Republic of Korea) Karolia, A and Buch, H. Ajrakh-Block Printed Cloth of Kutch, Gujarat. (The M.S 80 University of Baroda, India) Kuma-Kpobee, M., Power, J. and Otieno, R. Utilisation of Traditional Dress: The 84 Case of Slit and Kaba in Ghana. (Manchester Metropolitan University, UK) Laycock, K. From Musical Composition to Painting: From Painting to Textile 89 Design. (University of Leeds, UK) McAllister, H. Past, Present & Future. (National College of Art & Design, Ireland) 97 Maeder, F. Sea-silk – Revival of a Rare Textile. (Natural History Museum, 102 Switzerland) Morrow, R. and Belford, P. Textile Technologies in Concrete Environments. 106 (University of Ulster, UK) Nelson, D. Surfing the Arcane Archives. (UK) 112 Potlako, D.L.P. and Otieno, R. Botswana Traditional Dress: Past, Present and 115 Future. (Manchester Metropolitan University, UK) Rivers, V.Z. The Peruvian Connection: A Global Atelier. (University of California, 119 USA) Scott, J.C. An Investigation into the Changing Roles of Structure and Surface in 122 Knitted Fabric Design with Reference to Architectural Practice. (University of Leeds, UK) Stewart, G. The Development of Multi-Layer Woven Fabrics with Potential as 126 Geotextiles. (University of Ulster, UK) Thomas, B.G. and Hann, M.A. Tiling Polyhedra – The Principles of Three- 129 dimensional Tessellations (University of Leeds, UK) Wells, K. A Contemporary Irish Take on ‘Blue Prints’ Indigo Dyed ‘Chintzes’ of 134 the Eighteenth Century. (University of Ulster, UK) Worth, G. Contemporary Yuzen Dyeing: A Case Study. (Manchester 140 Metropolitan University, UK) 3 PROMOTING SUSTAINABILITY: A SILK COMPANY’S LONGEVITY AND ENVIRONMENTAL AWARENESS Susan Taber Avila University of California Davis USA Sustainability has a double meaning at Mantero Seta Spa, the one hundred year old silk company nestled in the picturesque town of Como, Italy. First it attests to the company’s longevity and survival amidst a gradual decline of Italian silk production, and second it is a key ethical concern and guiding force for much of the company’s business practices. Silk production in Northern Italy dates back to Renaissance times when Mulberry trees where planted in abundance; today Como (about 40 km from Milan) is still greatly associated with silk. Initially the industry was composed of a loose organization of home weavers who lived either in Como or the surrounding countryside. By the end of the 19th century, manufacturing groups became more cohesive, and a group of family run companies were formed to develop designs and manufacture fabrics. Thus Riccardo Mantero formed his own company in 1902, and subsequently became one of the leading entrepreneurs of silk in 20th century Northern Italy. In the beginning, the young entrepreneur concentrated on brokering fabrics from local manufacturers. Concerned with finding high quality and well designed fabrics, he began to work more closely with manufacturers and eventually the Mantero Company (Riccardo and his sons) took over the development and creation of the fabrics it sold. In the 1940s Mantero acquired its first weaving mill, and in 1964 opened the current plant it runs in Grandate near Como. Mantero Seta SpA, is famous for producing beautiful high end fabrics seen on the most fashionable designer runways. These partnerships began in the 1950s when Paris designers, led by Pierre Cardin, began to show fashions that were “ready to wear” in addition to the traditional haute couture. This opened up a niche market for fabric manufacturers who foresaw the possibilities of creating exclusive fabrics that could still be mass produced. In addition to providing fabric to designers, in the 1960s Mantero also began producing fashion accessories, including lustrous multi-color print scarves for women and elegant jacquard woven silk ties for men. In the early 1980s, Italian fashion (with Armani and Versace leading the way) became extremely popular and companies like Mantero assisted and benefited from the “made in Italy” cache. Throughout the 20th century, many factors affected silk production in Italy. Economic depression, war, new synthetic materials, and competition with third world countries are just a few examples. Many companies could not muster the flexibility required to develop new strategies for success amidst changing times. Mantero, however, managed to thrive by adapting to market developments and staying on the cutting edge of high end fashion. This includes developing non-silk fabrics such as polyester microfibers and forming joint ventures with Asia rather than merely competing with them. Recently the company has dedicated itself to supporting textile art and consciously promoting ethical and environmentally friendly fabric products. As part of this new commitment, two years ago they opened La Tessitura, a combination concept store, gallery and café located in a former silk weaving factory. Even the building is recycled. 4 La Tessitura sells overstocks from many of the collections licensed by Mantero as well as a variety of inventive accessories and objects made from post-consumer textile products. Many of these items are developed by a creative think tank of young international designers. Products include wallets, notebooks, hats, and skirts made from men’s ties. An acrylic chair with salvaged fabric sandwiched in between layers of plastic provides a new take on upholstery. Leftover warp waste in jewel
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