sign in sign up
<<
Home , Chiffon (fabric)

Emilia Pryczyńska, Anetta Anderwald The Design Connotations of Clothing and Interior Fabrics in the Aesthetic and Institute of Architecture Department of Design and Technology of ul. Piotrkowska 276, 90-950 Łódź, Poland Application Aspects, Based on an Analysis of Recent Fashion Guidelines

Abstract The fashion of recent seasons has demonstrated numerous links between the designs of cloth- ing and decorative fabrics. The comparison analysis which this article contains illustrates the frequent connotations of the two assortment areas. These connotations refer to qualities of aesthetics as well as of application. Key words: decorative fabrics, clothing fabric, aesthetics, application qualities, connotations.

strong relationship between clothing and on surprising solutions in the area of decorative fabrics as regards design and components, construction and the visual application qualities. ‘destructurising’ of fabrics, a variety of decoration techniques and n The Basis of Aesthetic methods [2]. Awareness Influencing the Fashion of Recent Years The encouragement to unconstrained inspiration and fun can be also found in In fashion, the turn of the twenty-first the message of Gunnar Frank, a Dutch century has quite often been compared designer, who has been preparing the to a huge melting pot in which there is guidelines to the International Trade Fair a mixture of various styles accumulating for Home Textiles and Commercially the experiences of many centuries. It is Used Textiles Heimtextil. He described more and more difficult to catch up with the trends for the year 2000 in the words changes and orient oneself among the “Everything is different. Everything is wide variety of inspirations and influ- new. Everything is possible.” ences encountered. Innovative designs characteristic of the 1920s, the 1940s, The following season, 2001, was an invi- the 1970s and the 1980s are mixed with tation (such was the slogan of Premiere elements coming from various eras and Vision at that time) into the world of cultures, which provokes sharp contrasts new designs and colours. There was a and quite often embarrassment [1]. Such symbolic presentation of the meeting and combinations of both designs & materi- mixing of two elements: ‘cool’, hidden als and also styles & techniques are a behind a symbolic picture of a Scandina- consequence of a variety of phenomena vian boy presented in a clear, fresh interi- taking place in our times. It is a response or, and ‘hot’, a girl with oriental features to the era of multimedia. surrounded by Far Eastern-style patterns, n Introduction Asian sweets and exotic fruits [3]. This fundamental change, which is The specificity of the phenomenon popu- breaking up the classical unambiguity larly called ‘fashion’ inseparably links of design, is also associated with an ev- At that time three elements, fire, soil and various aspects of everyday life. These erlasting need to search for something water, became the inspiration for the in- aspects form a new quality which in its absolutely different, and not completely terior designers. As in clothing fashion, turn responds to the current aesthetic and specified in its authentic form. The various climates and three basic colour application needs. The design of planar unique atmosphere of the beginning of ranges (blue, red and grey) interacted. textile products has to take these grow- the new millennium is proving favour- In fire we encountered a mixture of per- ing expectations into account and, like able to this tendency. fumed East, kitsch and elements of pop no other area of production, must react to fashion, everything connected with Far frequent seasonal changes of demand. At the turn of the century, the moment Eastern philosophy. Water, with its light- which included the 2000 season, the ness, brightness and clarity, gave inspira- The course of these changes is common guidelines presented at the International tion and introduced the atmosphere of for various assortment areas because it Fairs of Clothing Textiles Premičre Vi- imagination and the feeling of a sporting considers phenomena determining the sion were based on actions relying on the character. Earth, the third element, was fashion of today, including manufactur- element of surprise. Textiles called by traditionally associated with discretion ing technologies. The analysis of the last the suggestive name of ‘hybrids’ aimed and the warm mood of a comfortable few seasons demonstrates that there is a to shape a new aesthetic awareness based domestic appearance [4].

FIBRES & TEXTILES in Eastern Europe October / December 2003, Vol. 11, No. 4 (43) 15 The slogan presented at Premičre Vision be observed at the stage of material and for youth, is very keen on the macro- for the 2002 spring-summer season was selection. scale, typical of decorative realisations, ‘Alternative’. The variety of inspirations and bright colours based on contrasts of and topics enabled free creation with one During recent years, the fabric design has colour and value. aim: discovering and highlighting one’s highlighted the strong position of natural own individuality. Sensitivity, although fabrics, from through soft Prints and jacquards as traditional meth- not free from roughness, optimism, inde- and its mixtures, flax, and , to other ods of fabric decoration most fully reflect cisiveness and fantasy harmonising with bast fibres which are also very popular the character of tendencies, withdrawing discipline came to the fore. We can find in the production of clothing fabrics. A from legible, unambiguous forms for the a similar content in the message from common element also seems to be the benefit of complex patterns, and nowa- Heimtextil presenting trends for 2002. large-scale introduction of various weav- days quite often having the character of The motto of the recent season, ‘Home ing and , including fancy semiabstract camouflage. On clothes and is where the heart is’, was an encourage- yarns. They give the effects of drizzling, on decorative fabrics one can recognise ment to create one’s own world in the blending and marble-like appearances motifs inspired by cobbles, archaeologi- neighbouring environment (office, flat, which are present in clothing and deco- cal layers, feathers, designs imitating the house). This unique style was meant to ration products. It is equally popular fur of wild animals, or tree rings, all of ensure maximum comfort for the mind to join yarns of different character and which are additionally enlivened by a and in the application. extremely divergent thicknesses in one variety of backgrounds. fabric. The consequence is differentiat- The current season in clothing fabrics is ing structures and effects, which is also Plant and flower motifs are quite often based on the experience of the previous achieved thanks to the use of combined influenced by actions aiming at blurring years, the tradition of searching and the weaves. A ‘handmade’ character is quite the borders between the background and need for continuous changes. According often obtained by consciously exagger- the motif. Flower designs have the form to the fashion designers, opposites appear ated structures and the effect of of small, irregular patterns, bouquets, next to each other and contrasts build using coarse-grained and texture weaves meadows as well as free compositions. harmony. The leading slogan of the com- of. In this way a highlighted fabric’s Flowers, from small to large in size, ing winter season encourages us to ‘stand construction or the construction’s printed realise a romantic thread. They respond face to face with reason, sharpen our im- imitation is exposed, which quite often is to the need for decorativeness and splen- agination and invent new language’. the clothing’s only decoration [5]. dour in creating our image (especially in clothes for special occasions). Through Finding a new style has also become an See-through and transparency, a very their diversity and multiple forms, they overriding aim in creating space around strong accent which builds a mysterious enchant us with freshness of colours oneself. This year’s Heimtextil (the last sensuality of the silhouette of the 1990s, and paint-like character (Figure 1). This such meeting took place in January 2003) is continued in creating the space around popular motif group is completed by convinces us that ‘there is no way for an us. Air , , chiffon, tulles, geor- presentations of various kinds of exotic individual style. An individual style is gette and etamine, ephemeral plaits, light leaves, bamboo, meadow and swamp the way.’ This expression seems to sum and , together with a group plants, herbs and herbal plants. up the designing experiences of recent of ultra-light non-woven fabrics, have years. found their permanent place in the vision The energising power, especially in youth of contemporary interior trends. An ex- fashion, can be found in the comeback of The analysis of the design guidelines pre- ample of a similar assimilation is etched ‘soft’ geometry and cashmere designs. sented at the two most important textile fabrics, which initially appeared in cloth- Virtual copies and transformations of fairs in Europe indicates the same direc- ing, and later enlarged their reports and patterns from the 60s and 70s have ap- tion of search. Numerous similarities can the character of motifs used in curtains, peared in , together with be also traced regarding colours, design curtains and special-usage fabrics. a fashion for pop and op-art and hippie and finishing. fashion. Irregular polka dots and spots, A strong relationship between clothing smooth, small and large stripes and cheq- n Design Connotations in the and decorative design is often based on uers, freely connected with Turkish de- Area of Colours, Motifs and the use of common motifs with numerous sign or simplified flowers make a kind of Decoration Forms in Fabrics interpretations in various assortments. It ornamental, multicolour arabesque. Far is worth mentioning here the popular- Eastern motifs introduce the breath of Styles mixing and playing with con- ity of a realistic representation of roses the exotic (Figure 2) preferred in fashion, ventions in terms of literal borrowings which is equally successful as a dress and often mixed with the atmosphere of the or free interpretations occur at various or as a typically decorative motif. Tales from a Thousand and One Nights. stages of fabric creation. As a result, we The characteristic silhouette of the tulip receive products which exemplify the has had similar success. A wide range of classical geometric pat- link of the new aesthetics with function, terns has for years been a universal canon textiles which are difficult to classify as Connotations between two basic assort- common for clothing and decorative regards their application and the way in ment areas are not limited only to inter- fashion. Colourfully woven chequers and which they are produced. pretation of the same motives. Quite of- their printed imitations have taken one of ten we also deal with literal borrowings, the leading positions in the offer of west- Specific preferences common to cloth- just as in the case of wallpaper patterns ern producers of decorative products, es- ing and interior assortments can already on clothing fabrics. Fashion, especially pecially of bedclothes and coverings. The

16 FIBRES & TEXTILES in Eastern Europe October / December 2003, Vol. 11, No. 4 (43) FIBRES & TEXTILES in Eastern Europe October / December 2003, Vol. 11, No. 4 (43) 17 hit of the season has been a stripe motif in same materials, weaves, impregnates and They are applied in a whole assortment various colour and composition versions, finishing are present today in all textile of products from bedclothes, upholstery which has been as much used in interior assortments, creating new aesthetics of to window decorations, carpets and fitted fabrics as in clothes (Figure 3). products, and thus blurring the borders carpets. In the home textiles industry, between decorative and clothing textiles. after a period of fascination with plastics, As in other thematic areas, geometry the conviction that natural fibres are es- is realised with the use of alternative Common materials, weaves and con- pecially precious materials is becoming decorative techniques, that is, etching (as structions more and more popular. Natural materi- already mentioned), embroidery, , By the end of the 1980s, producers of als are ecological and have very good applications, sequins, filling the surface home textiles had turned towards natural application and aesthetic qualities [7]. with shiny materials, and coating with materials such as , cotton and wool, Linen fabrics are appreciated by design- lustrous finish. introducing products from natural fabrics ers and users of home textiles for their into their collections on a large scale. smoothness, silky shine, resistance and All these assortments also share the in- terchanging of matt and shine, as well as the presence of surface elements. The latter take the forms of wrinkles, creases, pleats and effects. Crepes, crepons, and embossing fabrics introduce the element of imperceptible movement of 3D structures, sometimes in the form of delicate irregularities of surface, or even as sculpture-like spatial structures [6].

A constant element joining the textile design is colour. Preferences concerning a b particular colours and their combinations apply to clothing as well as to decorative Figure 1. Examples of using a flower motif on cushion (a) and clothes (b). fashion. Thus we deal with a domina- tion of achromatic colours, white, grey and black. This is a realisation of the tendency for minimalist asceticism, a breakthrough entrance of a wide palette of green, quite often connected with bro- ken pink and red and with an explosion of sickly, sweet colours, characteristic of kitsch and childish carelessness.

Current interior trends tend towards brown, which has anyway been determin- ing clothing fashion in recent months. a b n Design Connotations Between Clothing and Interior Fabric Figure 2. Far-East motifs used on decorative textile (a) and clothes (b). in the Application Aspect It is more and more popular to give clothes special qualities which used to be attributed to decorative textiles. Also, decorative fabrics are gaining features that used to be characteristic only for clothing fabrics. This phenomenon is connected with the fact that textile prod- ucts are more and more often made with the users’ comfort, health and safety on the designers’ mind. There are ever more examples of these connections on the textile market. They are realised with a b the use of both familiar and also com- pletely new technologies in the areas of , weaving and finishing. The Figure 3. Examples of using a geometric motif on tablecloth (a) and shirt fabrics (b).

16 FIBRES & TEXTILES in Eastern Europe October / December 2003, Vol. 11, No. 4 (43) FIBRES & TEXTILES in Eastern Europe October / December 2003, Vol. 11, No. 4 (43) 17 natural coarse texture [8-14]. Application It is joined with linen, , , ny- with metal threads and prints made with parameters are also important here. Their lon, lycra, Tencel, or acetate fibres. In fluorescent dyes. low electrostatic qualities mean that even modern interiors the leading position is a small addition of linen to the fabrics taken by classic with metal-plated ‘Technical’ effects of drizzling and shine considerably lowers their tendency to thread applied on it, which is used mainly can be achieved with different methods electrify (upholstery, carpets, fitted car- for upholstery. from fibre production, through weaving pets). The anti-allergic qualities of linen and knitting, to chemical processing of and its positive influence on the body The most popular animal fibre is wool. a ready product. For example, this result (bedclothes) are well known. The small Its precious physical qualities make it can be achieved by using metal threads resilience of linen, which causes its ex- irreplaceable. Wool stops external mois- in fabrics or knitwear. Metal threads cessive folding, is nowadays considered ture and is resistant to wearing thin. It has have long been used for decorating tex- as its greatest virtue. Nowadays there is a wide application in decoration fabrics tile products. In the past gold and silver also a tendency to finish other fabrics used for upholstery and carpets typical threads were used for this purpose. The in the style of so-called ‘creased linen’. for Scandinavian design (IKEA). Classi- art of weaving with the use of gold and Creased linen is one of the most fashion- cal constructions of wool fabrics, such as silver threads was known in the times able fabrics of the latest seasons, and gabardines, flaush, lodens, cloth, , of Alexander the Great. At present, soft not only in clothing. In modern interiors back splices, tennis, , boucle, can aluminium threads are used in order to this type of fabric is applied for window be more and more frequently encoun- achieve the desired effect. Aluminium decorations in the form of net curtains tered in modern interiors. foil is coated on both sides with transpar- and bed and sofa coverings. In order to ent or acetate foil, after which heighten its elasticity, linen is mixed with Common impregnations and finishing the laminate is cut into threads of the elastane (lycra, dorlastan). Elastic linen techniques required wideness. If the glue applied has almost become a standard in clothing. for sticking the threads is colourless, the Links between clothing and home tex- Designers suggest using elastic linen also threads thus obtained have an aluminium tiles can be also observed on the level in interiors, for example as upholstery. colour. When colouring the glue with an of impregnation and finishing. Everyday Linen can be found not only in standard appropriate colour, we can achieve any clothes (underwear, pantyhose, jackets, mixtures with polyester, it is often mixed colour of threads. Another method is to shirts, ) are more and more often with cotton, viscose, polyamide, wool, expose the polyester foil to aluminium water-resistant, anti-electrostatic, anti- natural silk, hemp, and recently with vapour in vacuum, which is called the metal-plated fibres and tencel. In 2000 bacterial, anti-mycosic, UV-ray proof, metallising method. linen was considered the hit of the season anti-dirt, fire resistant, fluorescent, in all assortments of home fabrics. In the reflecting, perfumed or even insect re- Innovative solutions achieved on fabric modern design of decoration fabrics, pellent [15-25]. Not so long ago these surfaces with a creased paper structure linen is used in the forms of sheet, open- qualities were reserved for interior and are also associated with techno optics. work, nets, diagonals, melange, fabrics technical textiles only. These effects are not connected with the coated with polyurethane, semi-perme- fabric’s finishing, but are conditioned by able membranes and knitwear. Knitwear This trend has quite unconsciously con- a specific construction of a fibre and its with a proportion of flax is more and tributed to the creation of a new style in physical and chemical features. Such a more popular, and not only for the top clothing fashion. Fabrics more and more fibre has been created by a Japanese com- clothes. Characteristic knitwear pleats often rustle, gleam, sparkle, shine, are pany, Kanebo. The fibre is a bicomponent have very good appearance in all types of phosphorescent and opalescent. It turned built of two types of polyester with dif- interiors. Bed coverings, curtains and pil- out that a well-known optics of technical ferent melting temperatures. A ready fab- low covers are made from knitwear. fabrics could be used for this trend. Var- ric made from such a yarn is taken under nished, lustred, glass, gummed and paper pressing rollers at a high temperature that The inevitable cotton also appears in textile surfaces are present in top fashion. melts the lower temperature component. interiors. Cotton is hygroscopic, resistant In this way, new aesthetics have started In this way, under the influence of an ad- to washing and ironing, and is easily dyed to with function, which resulted in ditional burden, permanent, non-deform- with permanent colours. These qualities the creation of a style in clothing fabric able creases appear, imitating a creased make the fibre widely applicable and are design called ‘techno’. The style is repre- paper. the reasons for its everlasting popularity. sented by characteristics including shiny Certain types of cotton fabrics typical jackets made from gummed fabrics, The effects of drizzling and shine can of clothing assortments such as batiste, close fittings similar to a diving suit, alu- be also achieved when weaving through denim, duvetine, , seersucker, minium-coated textiles resembling steel- the application of two different synthetic , organdine, jeans, embossed worker’s overalls, reflecting fabrics and materials in warp and weft, in connection fabric and crepe, have been widely used luminous fabrics like traffic signs in the with an appropriate weave which brings in our homes. Nowadays these fabrics darkness, foil fabrics, false furs. From the a shinier fibre onto the fabric’s surface. have come back with the use of various textile engineering point of view, techno fibres, and techniques of mechanical and fabrics are various types of compact and The actions connected with the chemical chemical finishing including the most sculptured surfaces achieved through processing of a fabric give more pos- recently developed fibres and techniques. coating and end-use finishing, relief sibilities in creating ‘technical’ effects The cotton is softened, made flexible, structures achieved thanks to permanent on the fabric’s surface. An example etched, punched, scratched, embossed, folding, double-layer fabrics with con- could be perfectly white clothes which creped, crumpled, worsted or flannelled. trasting sides, multi-layer fabrics, fabrics are luminous in ultraviolet light. The

18 FIBRES & TEXTILES in Eastern Europe October / December 2003, Vol. 11, No. 4 (43) FIBRES & TEXTILES in Eastern Europe October / December 2003, Vol. 11, No. 4 (43) 19 effect is associated with using so-called the result of interdisciplinary actions in 8. E. Pryczyńska, B. Lipp-Symonowicz, T. optical brighteners, which were already various assortment areas. Rymarz, ‘Modern trends of designing of known over 2000 years ago, when the linen fabrics considering the aesthetic degree of the linen whiteness after sun- The area of applications will increase. and utility comfort’, Proceedingsof the Ivanovo International Scientific and bleaching was improved by saturating Technologists’ proposals, which a few Technical Conference ‘Textile Chemistry it with an extract from horse chestnut years ago were of a purely theoretical 2000’, 19-21 September 2000, Ivanovo- bark. The plant contains phosphorescing character or directed solely at a specific Russia. blue-violet esculine, which caused the product, may in the future be applied in 9. E. Wilk, ‘Tkaniny o strukturze trójwy- desired result. In the nineteenth century many areas. This fact heralds unlimited miarowej’, Architektura Tekstyliów no 1 the phenomenon was given the name of possibilities for the expansion of ideas (1997). ‘fluorescence’. The phenomenon is a re- into areas not hitherto known in textile 10. ‘Textiles now’, International Textiles, no sult of enriching the radiation emitted by engineering. Examples are micropore- 9, (1999). 11. Website: www.kanebo.com.pl a product with radiation from the optical breathing membranes, which up until brightener treated by UV light, which in 12. ‘A new way of thinking’, International now has only been used in sports clothes. Textiles, No 4 (1999). consequence gives the effect of brighter At present their usage is proposed for 13. E. Pryczyńska, ‘Techno-tkaniny’, Journal and shinier whiteness. everyday bed mattresses (the proposal Tekstylny, No 5 (2000). of the REHA 2003 Fairs in Düsseldorf) 14. Zawadzki, ‘Decoration of fabrics by chemical Another way to obtain similar optics is to or in textile wallpaper (the proposal of methods’, Proceedings of the Conference coat a fabric or knitwear with substances the Heimtextil 2002 Fairs in Frankfurt). ‘ArchTex’96’, 25-27 Dobieszków, Łódź., Po- called synthetic polymers. Thus films im- These applications are a consequence land (in Polish). 15. S. Tarkowska, K. Makówka, ‘Nowe techno- itating the surfaces of oil, wax, varnish or of clients’ increasing expectations and logie powlekania’, Przegląd Włókienniczy, grease are achieved. This is the result of requirements regarding safety, health and multiple lustering or coating of a fabric No 2, 1993. comfort of usage. 16. Lotens W.A. ‘The actual insulation of multilayer with polyacryl-polyurethane resins in the clothing’, Scand. J. Work Environ Health 15 form of foam. The fabrics have a slightly The fabrics which result from joining (Suppl. 1), 1989. flashing touch and a delicately shining new forms with functions will surely be 17. J. Szosland, ‘Aspekty i kryteria zdrowot- surface, which is most often the result more and more difficult to define in terms ności teksyliów’, Przegląd Włókienniczy, of using a -based weave. Lightly of both their production and their pur- No 12, 1992. 18. M. Zimniewska, E. Mazur, ‘Protecting wax-coated layers are achieved through pose. That is why problems may appear properties against harmful UV radiation coating a polyester or a polyamide fabric in the future, for example with keeping with waterproof finishing. of hemp and flax knitings’, proceedings the products in good repair. This situa- of the Institute of Natural Fibres, 2000 (in tion has been foreseen, and during one Polish). Techno fabrics can also be double- or of the most recent sessions of Premiere 19. W. Jędrzejewski, ‘Wpływ promieniowania multi-layer. The effect of different right Vision in Paris, the use of special picto- UV na organizmy żywe i ich ochrona przez and left sides is achieved through weav- grams which should characterise a given stosowanie określonych wyrobów włókien- ing, knitting and chemical techniques. product was suggested. A similar system niczych, P. 1 and 2, Przegląd Włókienniczy The sides are most often in contrasting No 10, 11 (1995). of textile marking could facilitate their colours, with different weaves and sur- 20. W. Urbaniak-Domagała, B. Lipp-Sy- identification and specify their function faces. The easiest way to achieve such monowicz, E. Pryczyńska ‘Influence of in the future. fashionable dualism is to coat a carrier the component composition and fibre fabric with a so-called membrane or to distribution in the structure on the electrostatic proeprties of fabrics’, glue it. This double- or multi-layer char- References Proceedings of Scientific-Technical Con- acter has virtues not only in terms of aes- 1. Małgorzata Czudak ‘Kochamy wygodę, ference of the Faculty of Textile Engine- thetics but also in terms of application. tęsknimy do luksusu’, Journal Tekstylny ering, Technical University of Łódź, 1999 No 1/2002. (in Polish). A new style also means unconventional 2. A. Anderwald, ‘Premiere Vision - wiosna 21. ‘A new way of thinking’, International ideas of coating ultra-thin silk, linen, or - lato 2000’, Architektura Tekstyliów No Textiles, No 4, 1999. cotton fabrics. The coating gives pitch- 1-2/1999. 22. B. Beuth ‘Włókna i tkaniny w życiu co- faced, transient, fleeted and natural layers 3. A. Anderwald, ‘Premiere Vision - wiosna dziennym’, Warszawa, 1969. a rustling, paper-like and the modern - lato 2001’, Architektura Tekstyliów No 23. D.Ciechańska, H. Struszczyk, A. Miet- tinen-Oinonen, G. Strobin, ‘Enzymatic techno look. 1-2/2000. 4. T. Rymarz, E.. Socha-Dudek ‘Tekstylia we treatment of viscose fibres based woven wnętrzu-Heimtextil’00’, Architektura Teksty- fabric’, Fibres & Textiles in Eastern Eu- n Conclusions liów No 1-2/2000. rope, No 4/2002. 5. A. Anderwald ‘Development courses of 24. Dobilaite, A. Petrauskas, “Analysis of fabric On the basis of a review of the literature, designing clothing fabrics on the basis of an tailorability subjective evaluation’, Fibres it seems that the trends as analysed will analysis guidelines presented at the Interna- &Textiles no 3 (2002). continue. In the future, the trend which tional Clothing Fabric Fair Premiere Vision’, 25. Frydrych, M. Matusiak, G. Dziworska, designers call ‘hybridisation’ will be a Proceedings from the International Scientific ‘A kind of fabric finishing influence on synonym of a creative composition of Conference ‘Textile Engineering and the Qu- chosen aesthetic and utility properties’, ality of Living’, Żyrardów, June 1999, Poland Fibres & Textiles in Eastern Europe, various raw materials, spinning, weaving (in Polish). No 3/2003. and knitting methods, finishing tech- 6. E. Pryczyńska, ‘Estetyka niszczenia’, niques, and application qualities, all in Journal Tekstylny, No 2 (2001). one fabric. Thus these ‘hybrids’ will be 7. Textile View Magazine, Winter 1999. Received 01.03.2003 Reviewed 16.12.2003

18 FIBRES & TEXTILES in Eastern Europe October / December 2003, Vol. 11, No. 4 (43) FIBRES & TEXTILES in Eastern Europe October / December 2003, Vol. 11, No. 4 (43) 19