Kera-Plast: Exploring the Plasticization of Keratin-Based Fibers Through Compression Molded Human Hair in Relation to Textile Design Methods

Kera-Plast: Exploring the plasticization of keratin-based fibers through compression molded human hair in relation to textile design methods

Romy Franziska Kaiser

Kera-Plast: Exploring the plasticization of keratin-based fibers through compression molded human hair in relation to textile design methods

Author: Romy Franziska Kaiser S181825 Report Number: 2020.6.03

Master in Fine Arts Fashion and Textile, Specialization in Textile Design The Swedish School of Textiles, University of Borås, Sweden HT19-VT20 Designprojekt – examensarbete 30 hp KMAMT18h MODE/TEXT v.46

Supervisor: Hanna Landin Opponent: Sarah Taylor Examiner: Delia Dumitrescu

August 2020

Figure 1 Category 3D Surface: Exploring the possibilities of a 3D patterned surface structure. Example of result.

Figure 2 Category Pattern: Exploring 2D patterns in relation to material, color and textile technique. Example of result.

III

Figure 3 Category Shapeability: Exploring the possible shaping qualities of Kera-Plast. Example of result.

Figure 4 Category Light: Exploration into the influence of light on Kera-Plast. Example of result.

V ABSTRACT

The project Kera-Plast aims to re-loop humans and nature by questioning the current systems and ethics through materiality. Human hair, currently considered as waste, functions as the base for the material exploration fabricated through thermo-compression molding.

The flexible, short and opaque keratin-fibers get glued together with heat, pressure and water, acting as a plasticizer during the compression molding process. The results are stiff and remind on plastic due to shine and translucency. Aesthetics and function of the resulting material are controlled and designed by traditional textile techniques as knitting, weaving and non- woven processes. The material samples display the potential of Kera-Plast in the categories of 3D surface structures, patterns, shapeability and the influence of light. The findings also provide information about the parameters for designing with keratin fibers through the thermo-compression process.

It can be concluded that despite all ethical and cultural factors, Kera-Plast and its fabrication method has the potential to add a sustainably, functionally and aesthetically value to the design field and our future material consumption.

KEYWORDS. Compression Molding, Plasticization, Keratin Fiber, Human Hair, Textile Thinking, Textile Activism, Mindset through Material

VI Content VII.2 THE REHASH ...... 31

VII.3 THE REMAKE ...... 33 ABSTRACT ...... VI VII.3.A Dyeing Process ...... 34 I INTRODUCTION ...... 2 VII.3.B Thermo-Compression Process ...... 36 VII.3.C Non-Woven Process ...... 43 I.1 THE STARTING SCENARIO ...... 2 VII.3.D Weaving Process ...... 57 I.2 MOTIVE: HOW CAN HUMANS CONTRIBUTE TO THE FIELD OF RENEWABLE RESOURCES? . 4 VII.3.E Knitting Process ...... 67 II CONTEXTUALIZATION OF HUMAN HAIR ...... 6 VII.3.F General Findings ...... 78

II.1 CULTURAL CONTEXTUALIZATION OF HAIR ...... 6 VII.4 RESULT: THE REUSE ...... 87

II.2 OBJECTUAL CONTEXTUALIZATION OF HAIR ...... 9 VII.4.A 3D Surface ...... 88

II.3 CHEMICAL CONTEXTUALIZATION & QUALITIES OF HAIR ...... 12 VII.4.B Pattern ...... 92 VII.4.C Shapeability ...... 99 III DESIGNING WITH HUMAN HAIR ...... 16 VII.4.D Light ...... 103 III.1 CHALLENGING THE NORMS AND SYSTEMS AROUND HUMAN MATERIAL ...... 16 VIII DISCUSSION ...... 109 III.2 MODERN FABRICATION TECHNIQUES OF HUMAN HAIR ...... 18 VIII.1 SPECULATED SYSTEMS ...... 109 IV AIM...... 21 VIII.2 CHALLENGE OF USAGE POTENTIAL OF THE MATERIAL ...... 110 V INTRA-VIRONMENTAL THINKING ...... 22 VIII.3 CHALLENGE OF DESIGNING ...... 113

VI METHODOLOGY ...... 24 IX LIST OF REFERENCES ...... 119

VI.1 DESIGN APPROACH ...... 24 X IMAGERY ...... 122 VI.2 DESIGN PROCESS ...... 24

VI.3 DESIGN RATIONALE ...... 26

VII DEVELOPMENT & RESULTS ...... 28

VII.1 THE MATERIAL LIBRARY OF THE SYMBIOCENE ...... 29

VII

H375,000,000O132,000,000C85,700,000N6,430,000Ca1,500,000P1,020,000 S206,000Na183,000K177,000Cl127,000Mg40,000Si38,600Fe2,680 Zn2,110Cu76,114Mn13F13Cr7Se4Mo3Co1

“It looks like something you might find in a barrel of toxic waste but it’s the chemical formula for a human being. You have to multiply each number by seven hundred trillion, but those are the correct chemical ratios for one human body. So, if you hear someone say they distrust chemicals, feel free to reassure them. They are a chemical” (James, 2018, p.4)

Figure 5 Artistic visualization of the process: From Hair to Kera-Plast

2 reason, extending this approach with already existing waste resources is I Introduction promising.

I.1 The starting scenario The idea of the inclusion of unused resources like waste or byproducts is by no means new. Already our ancestors have found the right tactics and Materiality plays a crucial role in the daily life of our society (United Nations techniques to get the most out of every product and process, often due to Knowledge Platform, n.d.). Preformed norms guide our lives. Established limited resources and the motivation to survive. With the advent of ethics and living standards are often based on the imbalance and exploitation industrialization, mass consumption, and the resulting prosperity, we have lost of fossil resources of the planet. This lead to a growing material footprint per sight of the connection with the natural origins. Pyle argues about the current capita over the last decades. While in 1990, some 8.1 tones of natural relationship of humans to nature that it is not connected any longer in such a resources fulfilled a person`s need per year, almost 12 tones were extracted way a sustainable future is possible (Pyle, 2003). per person in 2015. In global terms, this means the worldwide material consumption from 92.1 billion tons in 2017, could reach to 190 billion tons by 2060 (United Nations Knowledge Platform, n.d.). Besides, the continually growing population increases the pressure on our current living and consumption systems. The current number of 7.7 billion world population, is forecasted by the United Nations to rise to 9,7 billion in 2050, reaching its peak of about 11 billion around 2100 (United Nations, 2019).

We require new solutions to be prepared for the higher demands of consumer goods, food supply as well as the preservation of resources for future generations. For commodities, renewable resources are often considered to be a more sustainable option due to biodegradability and relatively fast Figure 6 Forecasted population growth by the United Nation reaching the peak replenishment. Even the additional cultivation requires, if not even more at 2100 at around 11 billion people (United Nations, 2019) valuable resources, which could be invested more useful e.g., in food. For this

Precisely this connection between man and nature is essential for a sustainable human living. The authors Rau and Oberhuber (2018), who are dealing with sustainable forms of economy, underline that within the closed system of the earth, all material goods are limited. Everything is interrelated with everything else. Consequently, all are of equal importance. With the fact that humans are tending to view elements and incidents in isolation, they justify the tendency of humanity to think of themselves as being on earth by chance rather than as part of an isolated system. In contrast, they emphasize that in nature, there is no isolation. It becomes clear that our world is one big ecosystem of interacting elements, and any separation made between them is only theoretical and not real (Rau, T. and Oberhuber S., 2018, pg.68-69).

As shown above, circular consumption systems require a redefinition of the traditional western ethics towards resources, which currently separate the human self-perception and nature. Here from follows the demand to humanity to include it selves in a more holistic viewed system.

Figure 7 Visualization of the current human mindset as base of building the manmade systems. The pink arrow shows hereby the starting point of the research question.

I.2 Motive: How can humans contribute to the fibers as e.g. cotton with the largest globally fiber production of almost 25 million tons annually, the amount of unused hair is staggering. field of renewable resources? After leaving the body, hair ends up in the normal waste stream, which does not just prevent the use of the qualities, it even results in huge problems Considering a human life and the materials we have in and on us, which do among others choking the drainage systems, occupying large volumes of not perform a life-support function, keratin based materials get noticeable. space due to slow degradation in landfills, and when leaching, causing “Human keratins are found in hair and nails as well as the epidermal layers of problems of eutrophication due to the increase of the nitrogen level in the the skin. In general, during the period of recorded human history, keratins water bodies. Therefore, Gupta from the National Institute of Science, have featured principally in cultural and aesthetical context”, Kokot (2001) Technology, and Development Studies argues in an article of the Journal of explains. Waste management for an introduction of a controlled waste stream for hair material (Gupta, A., 2014). Hair and Nails grow continuously and are regularly removed in our western society as part of beauty standards and cosmetic practicalities. It is a highly Gupta (2014, p.1) states clearly “As a potential material resource, human hair emotional and ethical loaded material, which changes perception when has the advantage that it is completely biodegradable, renewable, and recognized as not the own or in a different context as usual. As soon it leaves available in every locality”. As shown, among other properties a rethought the body it is turned into waste. Therefore, it is a very ambivalent material, handling of hair would question the relationship to our own natural base. In which can evoke extravagant beauty as well as the deepest disgust. this respect, it gives a chance to humans to recognize and accept hair as a A single hair grows around 0,3 mm a day, resulting in a total volume of utilization material. approximately 30 meters a day per person (Beiersdorf, 2020). This means it Due to the proximity of the hair to textile fibers, it is promising to look at the builds a continuously renewable resource. Due to the absence of additionally processing options from the perspective of traditional textile techniques. Since required input of resources other than the body itself, the cultivation process throughout history, traditional methods like felting, weaving or braiding have happens automatically. According to Visser (2016, p. 21) the world population been applied with hair (Gupta A., 2014, pg.3-7), but have been lost again. creates more than 700 million kilograms of human hair waste per annum. She Exploring textile based methods, therefore, offer a high potential for the points out that in comparison to the numbers of use of other existing natural fabrication of hair waste as well as for the enlargement with more modern adjacent textile areas such as composite fabrication.

II Contextualization of Human Hair II.1 Cultural contextualization of Hair

Human Hair is an integral part of different cultures around the world. The origin of its use started with the existence of humanity itself. First, in the natural form, to warm the body and protect it from external influences such as UV radiation (Kokot, 2001). Over time, hair has since become a symbol with many different meanings varying from religious, social as well as psychological issues. Figure 8 Hair jewelry and tool for creation, Victorian Hair work, n.d.

(Sparr A., 1997) Already in Egypt around 1400 BC, Hair was an essential part of the culture used as a status symbol for differencing class, political significance, age, or gender (Hays, J.,2018).

In the 19th century, Scandinavian countries evolved hair work techniques due to population boom in combination with poor harvest depending on cold weather conditions. That nurtured the trading of beautifully crafted jewelry and objects out of hair throughout the Victorian period (Harran S. and J., 1997). The range of the pieces expanded over time to flowers, buttons, and brooches, often in combination with gold and resins, embroidery, and even paintings.

The association to a person made hair-work common in regards to spouses and memory. The latter connotation shift to a mourning symbol led to the extinction of this tradition in the early 20th century (Gupta, A., 2014, p.6-7). Figure 9 Historical Scene while cutting and collecting Hair (Sparr A., 1997)

Figure 11 Worker in hair factory India, n.d. (Khaleeli H.,2012) Figure 10 Cut off Hair of Holocaust victims displayed in the Memorial Museum

Auschwitz – Birkenau. Paweł Sawicki, n.d., Memorial Exhibition Auschwitz- In southeast Asian regions, especially in India and China, hair still plays a vital Birkenau [photograph, image online] (Ausschwitz-Birkenau, 2020) role in culture and religion. Particularly in India, many people get tonsured as with such a versatile material. What is certain, however, is that “[i]t is an part of their religious practices at certain temples every day (Gupta, A., 2014, archetypical feeling: we feel disgusted about our own body waste, without p.7). really knowing why “, as Visser (2016, p.13) concludes. For this reason, hair

is a popular art medium as an expression of transience, beauty, and human Not to be underestimated are the psychological connotations in this context life itself. Artists repeatedly take up the subject to shock and break our norms. which derived with cut off hair due to historical exploiting and punishment as experienced in acts in the 2nd world war when the hair of the holocaust victims was cut off before being sent in gas chambers in the concentration camps (Holocaust Research Project, 2007) Whether the connection with historical deeds or our contemporary notions of beauty and cleanliness have led to the disgust of cut hair cannot be proven

Figure 12 Perfect Stranger. Artwork out of human hair by Chrystl Rijkeboer, 2004 (Rijkeboer C., 2004)

II.2 Objectual contextualization of Hair

USAGE, INDUSTRY AND BEYOND In history, human hair was not just implemented in culture, it also served functional and commercial applications. Gupta points out that all different kinds of purposes were covered: “The unique properties of human hair such as its unique chemical composition, slow degradation rate, high tensile Figure 13 Gitgit is a guitar-like music instrument with strings out of strength, thermal insulation, elastic recovery, scaly surface, and unique Human Hair (TopTenz, n.d.) interactions with water and oils, along with its sociocultural roles, have led to many diverse uses. These uses also depend on the variety of hair available, In India still rag pickers are existing making their living from the collection of varying in terms of following parameters: length, color, straightness or hair. They earn around £1.50 and £2 for about 100 grams of hair a day. The curliness, hair damage, and contamination” (Gupta A. 2014, p.2). hair donated by the religious rituals are exported for very high prices due to length and good quality. The hair itself is sold to bigger suppliers to sell it all Centuries ago various fabrics for blankets and interlining were woven in India over the world for extremely high prices. (Visser S., 2016,p.13-16). Most and China by mixing human hair with yak hair, animal hair, nettle or cotton customers of these beauty products in the western world are not aware of the fiber. Among others human hair was used for insulation, fertilizer, oil filter, pest background and the capitalization of the hair material they use, since the control, ropes and measuring as well as musical instruments. It gets clear that obscure process makes it difficult to trace the origin. most applications are centuries old as well developed in special regions on It should be noted that there are some companies that strive for transparency low scale (Gupta A. 2014, p.3-6). in that business as well as non-profit organizations accepting donations wigs serving medical purposes (Gupta A. 2014). Due to the high demand of long human hair by the beauty industry high quality However, the current use in industry illustrates the ambivalent value of hair human hair is traded at a large scale resulting in extensions and wigs. In 2010 since it clearly gets separated into long, precious goods and short fibers India alone exported ~1 million kg of human hair and its products worth US considered as waste. $238 million (Gupta A. 2014, p.1). Further some of few current uses are presented applying hair depending on its purely functional properties, as well making use of the left over short fibers.

The non-profit organization Matter of Trust as an example makes use of the In contrast to applied projects, current research is investigating the material. high oil absorbency the hair provides. By filling waste human hair and animal Old techniques of reinforcing clay or concrete making use of the tensile fur into old nylon stockings (Figure 14) the so-called booms are created. strength has come to the attention in research again (Gupta S., Sharma A., These constructions are used to clean up the oil spills in the Gulf of Mexico 2018). and help to keep storm drains and waterways clean (Matter of Trust Inc., Looking closer at the molecular level especially the base of (hair)-keratin is 2020). Another project focusing on harnessing the tensile strength quality is widely spread among the industry. Human hair proteins enclose around KNOT by Visser. She gives a natural alternative by introducing ropes and nets twenty essential amino acids like e.g. L-cysteine, and are used in many made of human hair waste for the fishing nets so far made of plastic. (Visser cosmetics, pharmaceutical formulations and the food industry (Gupta A., S., 2020) 2014, p. 6).

Figure 15 Tests for compatibility with the skin. Implants based on extracted keratin under the microscope at different time stages. Screenshot from the Figure 14 So called Hair booms made out of old nylon stockings and donated paper Some properties of keratin biomaterials: Kerateines (Hill, Brantley, Van Hair for cleaning the oceans from oil spills by Matter of Trust (Matter of Trust Dyke, 2009) Inc., 2020)

Medical research is interested in the naturalness and compatibility of kerateins, the extracted version of keratins, due to the own production by the body as shown in Figure 15. Among others research is conducted in the field of keratin based implants suitable for artificially joints or prostheses (Hill, Brantley, Van Dyke, 2009). Furthermore, investigations on keratin films, 3D printing with keratin and nano-coated hair as flexible microelectrodes are being carried out (Gupta A., 2014, p.6).

It becomes clear that long, high quality hair is intertwined within a huge trading system serving beauty standards whereas old applications and qualities that go beyond are almost forgotten nowadays. The value of hair is strongly depending on the context. Due to climate crisis, there is an increased interest of research regarding sustainable, biodegradable and natural materials for use. In addition, modern technology, which makes it possible to extract and control desired ingredients through special processes allows fabrication on the Nano-scale. This nurtures the understanding of the fiber as well as pushing the potential of hair and keratin-based materials rather as seen as waste. Further this scientific consideration at the molecular level could lead to a definition shift of currently a very ethically and culturally connoted to a valuable utilization material.

II.3 Chemical contextualization & qualities of Another way of categorizing keratin is in regards to its helical confirmation structure of the protein chain. Hence a distinction is drawn between the - Hair keratin, which previously referred as hard keratins, and -keratins, previously

referred as soft (Wortmann, F-J., 2009, pg. 108-110).

In the following, a short classification of the base material keratin shall be Hair as base of this project belongs to the group of -Keratins respectively I a given to understand the occurrence and its structure. and II a, and therefore representing examples of hard keratins.

The term keratin derives from the Greek word κέρας, meaning horn. This A decisive factor for the properties of the hair itself is its structure. The basic notion covers in general insoluble proteins that contain the sulfur-rich cysteine building blocks of the hair fiber are the keratins in form of protein polymer amino acids. These proteins are part of the epidermal tissues of vertebrates chains. These are formed to fine threads, which are intertwined several times, in diverse variations, e.g. rhinoceros horn, claws, hooves, beaks, quills, thus connecting to small fibrils. The so called micro fibrils are then in turn various calluses, corns, feathers, sheep wool, skin, organ tissue as well as connected to the macro fibrils. For building up the fibrous layer, respectively human hair, and nails (Kokot, 2001). The keratinous biomaterials are of high cortex, keratins filling the area between and around the hair pulp and the importance regarding behavior, tools, mobility and especially in form of hair cuticle. Therefore, as shown in Figure 16 Schematic the hair fiber is and wool as protection against the environment including cold, sunshine, rain constructed in a more layered system which owes its characteristic strength and dust. Very remarkable is the possibility of several natural color variations the contained disulfide bridges between the fibrils (Beiersdorf, 2020) and patterns of some keratins, which naturally serve survival and gender (Wortmann, F-J., 2009, pg. 117-120). identification purposes (Feughelman, 1997) (Kokot, 2001).

Colloquially the notion keratin is used in simplified ways as a collective term of different types and must be differentiated in the case of a more detailed analysis. Therefore, a functional distinction based on tactile properties is common. Whereas type Ia and IIa refer to the ‘hard’ keratins including hair, nails, beaks etc., the type Ib and IIb names the ‘soft’ keratins like the stratum corneum, the outer layer of the epidermis as part of the skin.

Figure 16 Schematic of Merino Wool, similar in structure to that of a Hair fiber Figure 18 Ethnical difference in Hair structure, (School of Natural (Wortmann, F-J., 2009, p. 118) Skincare, 2020)

Based on this structure there are slightly functional differences between curls and straight hair as well as the color pigmentation due to melanin molecules embedded in the hair fiber structure. Furthermore, the properties of the hair fiber itself is depending on the location and nutrition during growth, as well as ethnical background. Within humans three hair types are distinguished, namely Asian, Caucasian and African. (Visser S., 2016, p.21-26) Due to the approach of making waste reusable, it is important in this project not to focus on ethnical differences, but to work out the whole potential of the keratin fiber. Consequently, it was important to find

Figure 17 Human Hair structure under the Microscope (MicrolabNW, 2007) characteristics and methods that are applicable to all different kind of hair versions.

Keratin fibers firstly are characterized by their natural biodegradability and renewability. Outstanding in this combination is the water resistance, the withstand to moderate acids as well as the oil absorbency. Although offering a high tensile strength, the fiber is very lightweight and flexible (Visser S., 2016, p.88). Accumulated fibers can also function as thermal, electrical as well as shock insulator. Further it is said to collect formaldehydes out of the air (Gupta A. 2014, p.5). In addition, the fiber can protect against UV light, even if this results in color and strength changes of the fiber itself (Nogueria, Joekes, 2004). Changes regarding the protein base has been mostly studied through extensive research in the beauty industry, like the chemically color and shape alterations. Like all other proteins, denaturation can be induced by chemical processes e.g though applying heat. In case of the hair fiber it is reversible when using moderate heat and pressure. This can be observed, for example, when the hair fiber is deforming for example with a straightening iron. The temperature range when a polymer changes from a rigid glassy to a soft material but not melted one is called glass transition. Especially for polymer fabrications the glass transition temperature is a crucial factor (Talanta, 2002). Since keratin as a biopolymer (Saha et al., 2019) is the base of hair, glass transition can occur. Hair is reaching the glass transition temperature at 144 °C degrees (Wortmann, 2009, p.130-131).

The ability to shape change by editing the structure and proteins has aroused Figure 19 Overview of Properties of a Hair fiber structured regarding sustainable interest for the following exploration. In the attempt to transform hair into a new approach, quality of a single hair structure and higher accumulation material, processing steps were combined which have an influence on the structure resulting in a change of properties, optic, interface and feel.

III Designing with human hair address global issues around the lack of resources and consumerism. As well as open a space for reflection and discussion about probable futures (Hurst,

P., 2017). Even if human material is seen as an ethical no-go for utilization, material- driven designs based on human hair currently disrupt at the used norms. To address issues of environmental challenges and revitalize forgotten craft skills, following designers have increasingly made it their topic. Different objectives and working techniques are pursued to examine the hair concerning its materiality character.

III.1 Challenging the norms and systems around human material

Through speculative design designer, Chamizo draws future scenarios which Figure 20 To Eat or to be Eaten: a guide to cannibalism. A speculative design should lead humankind to question current consumerism. He got inspired by Project by Chamizo, (Hurst, P., 2017). the fact that the Miraña tribe in South America still practices cannibalism due to habits and to avoid waste (Hurst, P., 2017). This perspective leads Chamizo In contrast, Visser1 approaches the need for change with a serious proposal to target our current ethics through his project TO EAT OR TO BE EATEN – by fabricating waste hair into ropes and applying it in addition to that as a A GUIDE TO CANNIBALISM. This guide contains recipes based on humans, utilization material. Focused on the high tensile strength of hair the work THE as e.g., the human minced meat mango tartare alongside the butchery NEW AGE OF TRICHOLOGY and its continuation, KNOT explores the description. Also, facts that justify cannibalism as a potential solution to global potential of human hair threaded in ropes (Visser, S., 2016) as seen in one of issues like overpopulation and food shortages are presented. As Chamizo her objects THE SWING (Visser, 2020). Further, they are processed into says in an interview, the project does not intend to promote cannibalism; it is fishing nets as a plastic substitute, among other useful rope applications. The about activism and communication. In a fictional scenario, he wants to

1 Visser S., Skype Interview about Designing with Hair, 18. November 2019.

work proposes a whole system around the waste stream in combination with the methodology of carding, spinning, and subsequent traditional rope making. As Visser states herself, it is essential for her to use traditional knowledge and help craftsmanship to survive by finding applications also in the modern age.

Furthermore, the material stays additive-free that it can go straight back into nature at the end of its life cycle, through composting or recycling. (Visser, S., 2016) She outlines the need for a systematic transformation introducing a controlled waste stream of hair. The color, however, is held in the virgin state of the used Asian Hair, brown to black. The project impresses by the strong sustainable suggestion to fabricate the keratin-based human waste into an object of utility with higher meaning.

Figure 22 The Swing by Visser S., 2017. (Visser S., 2020) Figure 21 Caroline F., 2019. Knitted Hair Samples by Antonin Mongin. (Mongin A., 2020)

III.2 Modern Fabrication Techniques of Human Hair

As also seen in Vissers project, a human hair is as a fiber strand predestinated for processing it with textile techniques. The historical fabrication of hair through embroidery, felting, or fabric making (Gupta, A., 2014) was built upon lately and transferred in new contemporary contexts. French textile designer Mongin started exploring the hair fiber based on its relation to identity and fascination for the traditional hair crafting, which disappeared in the middle of the 20th century (Collaborations in Textile Design Research Exhibition, 2019). The project aims to give the Hair a second life based on the personality of the owner; hence he works with donations.

Mongin2 explored several textile fabrications. For the used techniques of hair inlay in weaving and knitting, it is worked with relatively long strands, whereas Figure 23 Hair-highway by Studio Swine. (Swine S., 2019) the application through screen-printing requires hair in the form of powder, Beyond the traditional textile, the sector composites became of a higher which is added as a pigment to the print paste. Theoretically, this could be importance with the need for technical and high-performance materials in made of short waste fibers as well. Acid dyes are used for coloration. His work adjacent fields such as interior and industrial design. For producing these, aims to re-introduce cut hair as a creative material intended for art textile fibers are often cast with binders, pressed or shaped through heat. craftsmanship. The strength of his work lies in creating a textile toolset of Based on a mix with a natural binder, the project HAIR HIGHWAY by Studio crafting techniques for the delicate processing of the material regarding Swine investigates the potential of human hair beyond the current use in the customization and luxurious appearance of the results. beauty industry. The hair inserted as an inlay-structure enhances the visual

expression as well as increases the strength-level of the bio resin-based

2 Antonin Mongin. Design Workshop Crafting Hair. ArcInTex Network. ENSAD Paris, France, 18. December 2019

Figure 25 Final piece: Helmet out of 90% pure Wool by Echasseriau, (Echasseriau, A., 2015).

role in the trade of hair extensions, it uses long strands of hair. Whereas using resin as a binder makes it theoretically possible to use waste hair as well, even when changes in the strength may occur due to the short fiber length. Based on the idea of gluing the fibers together, the Industrial Designer Echasseriau worked in an interdisciplinary team to heat press wool, which is also a keratin-based fiber as the hair is, in the shape of a helmet even without Figure 24 Samples out of Human Hair and Wool for the project 90% PURE a binder. For the project HELMET 95% PURE WOOL, the team made use of WOOL by Echasseriau, (Echasseriau, A., 2015). the biopolymer base of the keratin and plasticized the fiber through heat and pressure around 11 tones after pretreating it with a reducing agent. Grinding composite (Studioswine, 2019). This leads to a creation of small cosmetics the wool down in powder helped to create a smoother surface of the plastic- objects as well as a mirror shelf on a bigger scale. The project focuses on like rigid layer. Samples were also conducted with human hair, whereas the aesthetical lines by applying the natural colored hair in structure. The smooth result was generated in wool (Echasseriau, A., 2015). aesthetics of the resin put the hair into a completely new context and helps to create a precious effect. Due to the connection of the project to China and its

As shown above, the projects using hair boast a wide variety of meanings, explored the method with wool towards a functional outcome resulting in a techniques, and applications. utilization object itself. Adding textile methodologies in the process enables The project Kera-Plast has taken it upon itself to focuses exclusively on the the research towards different color, surface and material expressions not use of waste hair. Similar to Visser does for communicating waste hair as a covered yet. Gained knowledge would broaden the spectrum of applications resource. Besides, the project works with a high level of abstraction of the of the material later. As well as widen the application area of keratin-fibers and original expression, still focusing on making use of the characteristics of hair. textile methods.

The exploration adapts traditional composite methods, where textile fibers are The composite processing compared to old handicraft techniques has fabricated as a reinforcement inlay with a binder. Composites with acid dyed emerged from technical progress, and is therefore relatively modern in the waste fibers are created with PLA to extend the functional range and possible industry. By forgetting hair as a material over time, the modern context has colors and patterns of a hair composite. not yet encounter hair on an industrial fabrication level. Also, the focus of the composite technique is exclusively functional in most cases. The textile design The project enlarges the exploration of fabricating the hair within textile view opens a new perspective on composites and the thermo-compression methods to control the short waste fibers. By knitting and weaving, techniques progress. also used by Mongin, the hair is brought into shape and pattern. In contrast to Transferring textile thinking into a new fabrication method enables introducing Mongin, the hair is worked in with a focus on waste and pattern possibilities hair as an unexplored material. The potential of hair expands aesthetically and through manual re-hanging on the domestic machine as well as on the mini functionally through designing with the elaborated plasticizing process based handloom. That opens the opportunities for patterns and color combinations on textile design techniques and thermo-compressing. Vice Versa, the that result after the pressing process. untraditional material and process combination could enhance the spectrum of possible fields of application for textile design. The melting process for keratin fibers is built upon Echasseriau explorations based on wool. The technique, thus, was extended with hair and textile design parameters. Since the previous textile process is decisive for the design of the resulting material regarding pattern, surface, translucency, and color combination, these parameters generate added value to the original technique as well Echasseriaus findings. As can be seen in figure 25 Echasseriau

IV Aim

Introducing Human Hair waste as a resource by making it more attractive for use, both visually and functionally.

Figure 26

V Intra-vironmental Thinking

Proposing an intra-vironmental thinking by harnessing the potential of keratin based human waste material in a textile and material context.

#mindthroughmaterial WE ARE PART OF NATURE

Current consumption systems have to be changed for a more sustainable future. Therefore, a new mindset is required.

The starting point was the distribution of roles of consumers and producers in our current systems and the attempt to reverse it. Resulting in the aim to change our current mindset and systems towards a re-loop of humans and nature. That led to the research question of how humans can contribute to renewable resources. Our self-perception gets challenged by splitting ethics from material values by proposing humanity from a chemical perspective. That draws us back to the fundamental questions of life, the relationship to our surroundings, and what we and our bodies are.

One pillar of the program is therefore the interdisciplinary and holistic approach. This includes the conviction that multidisciplinary cooperation and new technologies can create added value for people and the planet.

The design program tackles these mind shifts by asking questions about how we define our human being these days. How do we want to build our future systems?

VI Methodology following the first two steps referred to in the following as REHASH, the processing is extended by the developed methodology combining textile and

composite techniques, the REMAKE. VI.1 Design Approach The REHASH, therefore, covers the organizational part of collecting the raw STORY TELLING & SUSTAINABILTY material. In the first part of the REMAKE the design decisions take place by Thornquist (2010, p. 17) describes that “[t]he first act of creation is to establish influencing the material through several techniques. The REUSE applies to a vision and a world of oneself. A world to travel. A world to develop. A world the preparation for further use based on the presentation of categories to repair.” Using the base of a future scenario leads to a post - speculative proposing the qualities of the material. design approach supported through storytelling and a problem-solving proposal. Along with Cross (Cross, 2007, p.51), who argues “that design is The heat – compression process is performed on the 20-tone bench press by not a search for the optimum solution to the given problem, but [it] is Rondol Technologies located in the Polymer Lab of the University of Borås. exploratory”, experiment-driven and practice-lead explorations were The Differential Scanning Calorimetry (DSC Q1000 / DSC Q2000) is conducted. conducted on machine 2, by manufacturer TA-Instruments, located in the Analysis Lab of the University of Borås, E265 a. VI.2 Design Process Weaving is conducted on a mini handloom, knitting mostly on the domestic Silver reed machine model and the Doubied machines located in the Knitting

lab of the University, Borås. The Non-woven process is using a common heat REHASH – REMAKE – REUSE press for the pre-pressings. The methodology of practical experiments is based on a developed combination of steps, which can be seen in Figure 28: The methodology steps: The steps worked out in this project include the shown steps in Figure 27 from Rehash, Remake, Reuse. These partly rest on the ‘chains of value addition in NATURE by taking human hair as a base material until REUSE, proposing the human hair trade,’ which Gupta analyzes in the paper of the Journal Waste Kera-Plast as the transformed version of hair. Management. Therefore, Gupta is dividing the processing of hair in the

‘Collection System,’ ‘the Storage and Processing’ as well as the ‘Markets, The methodology of applying the specific textile techniques are presented and Consumer Preferences, and Regulations’ (Gupta A. 2014, p. 7-9). After discussed more in detail under The Remake at a later stage of this document.

Figure 28: The methodology steps: Rehash, Remake, Reuse Figure 27 Integration of developed steps in a proposed waste-stream system. Steps conducted in this project are NATURE till the beginnings of the REUSE

VI.3 Design Rationale The third category is the STRUCTURE, meaning the controlled arrangement in geometrical or organic patterns through color and form. In the known

context, hair is associated with the natural fall more than forced, arranged SUSTAINABILTY & MATERIAL PROPERTIES geometric sequences and repetitions, which are used for pattern creation. Design decisions taken throughout the process are based on a developed

Judging Parameter Table shown in Figure 29 Judging Parameters for the In individual samples, one or more of the different tools were used to achieve development of Kera-Plast. It illustrates the core values as decision key the highest possible abstraction. factors as SUSTAINABILITY and therefore using the own

MATERIALQUALITY. Later, it is distinguished between two factors, the aesthetic and the practical use of the properties. The FUNCTION is ranked above the purely aesthetic aspect as it is aimed at a potential application and can be embedded in further research. In this case, aesthetics is used as a tool for communication of the beauty of our natural materials. As well as increasing attention, interest, raising awareness and acceptance, which is why a visual curiosity should be generated. An unusual context is created by applying ABSTRACTION. The tool for abstraction is control, since it is the least state we are used to see hair, implemented through textile techniques. This is applied in the following areas:

COLOR. If abstracted, the color card ranges in greenish – blueish tones, preferred pale versions. Otherwise, translucency and, in addition to that, shininess is created in the typically opaque and relatively dull hair fiber.

FEEL / SURFACE. The interface of hair is usually associated with a soft touch and a messy appearance. Using the plasticization method, a stiff, shiny, and smooth haptic can be created.

Figure 29 Judging Parameters for the development of Kera-Plast

VII Development & Results

In the following, the background of Kera-Plast is presented, explaining the relation to the previous project, which was also developed in the MA degree course at the University of Borås. Subsequently, the development of the samples of Kera-Plast in relation to textile design methods and findings will be set out.

The overview of the development steps as well as resulting findings can be found online at https://kaiserromy.wixsite.com/keraplast

In addition, progress over time can be comprehended when visiting the Instagram Account kera_plast https://www.instagram.com/kera_plast/

Figure 30 Close-up of a dyed hair - bioplastic sample. Part of the sample collection of the Material Library of the Symbiocene.

VII.1 The Material Library of the Symbiocene proposes a circular living and challenges, therefore, our relationship to nature together with the ethical values of our current society.

The project was exhibited at the Light & Furniture Fair in January 2020, DEVELOPMENT BACKGROUND Stockholm. The concept of using keratin based human waste has its origins in the research question if the producer and consumer role of our current Especially the variety and different base materials as well as fabrication consumption systems can be converted. Whereas nature is on the producer methods were important for this approach. Nurturing the curiosity of the viewer role, mankind is used to consume without giving back or closing the circle out to question the material and propose different perspectives was a key of a material perspective, therefore, a new way of seeing human waste element. The library approach was a tool of wide exploration and method of material for contributing to nature was sought. This led to the idea to explore finding variety. the potential of the transformation of human waste material. It became clear Based upon these findings, in reflection with the previously shown judging at an early stage that the mindset and ethics, therefore, are an adjusting screw parameters, it was decided to focus on one fabrication method and material, to change our current systems, which wanted to be addressed by materiality. the thermo-compression fabrication of human hair. Starting with this process To compensate the high number of needed fingernails, animal horn as left- led to the introduction of textile techniques. over of the meat industry, have built the starting point. Due to the keratin focus the base materials were expanded with hair. Explorations with different More pictures of the Material Library of the Symbiocene can be found here: binders, mostly with bioplastic were conducted and have built the base for the https://www.artsthread.com/portfolios/the-material-library-of-the-symbiocene/ pre-step, the Material Library of the Symbiocene. Supporting visual documentation as well as previous single pieces can be The Library of the Symbiocene explores the aesthetical and functional found on the above-mentioned Instagram channel as well. potential of keratin-based human waste materials as hair, nails as well as animal horn as a by-product of the human caused meat industry. The project

Figure 32 Hair as reinforcement in plaster & light play with inlayed Hair: two development pictures of samples of The Material Library of the Symbiocene, 2019

Figure 33 Bioplastic-Hair pieces as part of The Material Library of Figure 31 The Material Library of the Symbiocene, 2020 the Symbiocene, 2020

VII.2 The Rehash other waste’, ‘washing’, ‘drying’, ‘sorting’ and ‘untangling’ (Gupta, A., 2014, pg.7-9). Pickups were made at two hairdressers in the city.

Sorting procedures especially executed through the carding process with COLLECTION & CLEANING PROCESS hand brushes help to sort the fibers regarding length (approximately between For starting out the original resource, currently declared as waste, must be 3 – 15cm), hair type and original color. Hereby the fiber length is a decisive made available. For the creation of a new material out of the waste stream the factor. While short hairs can be processed into coarse powder, long strands collection and cooperation with current suppliers, in this case hairdressers, are more suitable for inlays and weaving. Light colored hair is more play a crucial role. The Collection System according to Gupta lists among appropriate for treating it further with dyeing due to the possibility to create others the collection of barbers and hairstylist shops as sub-item. Also, the stronger colors, as well as for achieving the most possible translucent part in further processing techniques are similarly containing ‘separating hair from the plasticized version

Figure 34 The Rehash process includes Collection, Cleaning and Sorting

Figure 35 Visual process of Collecting, Sorting regarding Color and Fiber length, Brushing, Washing and second Sorting

VII.3 The Remake Since this is the spot where design decisions take place the Judging Parameter table, shown in figure 29 as part of the design rationale, was

important at this stage. FABRICATION PROCESS It shows that abstraction is an important tool for the project to reach a different Keywords: #Figure 29 Judging Parameters for the development of Kera-Plast #abstraction #controlling context as the raw material originally is connoted with. As illustrated the values are ordered in a funnel system. Accordingly, all decisions are oriented from a This is the frame for all controlled changes on the existing base material. As holistic perspective of the overall concept down to the details. This gives rise visual and functional changes, e.g. in color, texture, surfaces, pattern and to the following broken down hierarchy: Sustainability (Concept) > Function > shape. As well as combining it with other materials, namely the pretreatment Abstraction (Fabrication method & Details) > Controlled Structure (Details). and PLA.

Figure 36 The Remake process includes the Textile preparations and the Compression Molding

VII.3.A Dyeing Process In the project, it is worked with natural, also called virgin colors of the hair fiber depending which ones received by the hairdressers. For abstraction reasons a color a card was created basing on uncommon shades in connection to hair. Therefore, the turquoise as well pale mint – blue tones were introduced. Due to the keratin base the color of the hair can be changed by applying acid dyes or reactive dyes with a long soak in over 10 days.

The natural hair color is decisive for the intensity and correctness of the desired result. Even on blonde hair the color strength and shade is limited Figure 38 Color card for the dyeing process compared to pure white wool and existing industrial dyeing methods. Without the use of bleaches or per-oxide based products available on the cosmetics market, the brilliance of the color is dull, matt. In general hair dying processing is difficult to predict, a uniform result is therefore difficult to achieve.

In addition, it became visible that color changes occur in the pressing process. The already pre-dyed color shows a high loss in intensity due to the pretreatment process. After the compression molding the color turns into a wet-like appearance and translucent state with application of light. Therefore, the use of dyed hair in the pressing process showed a lack of efficiency and was mostly used for the PLA-composites to enhances the aesthetics. Depending on that the natural color plays a more crucial role in the pure hair pressing process. Figure 37 Hair in Plastic during the Reactive Dye Process and different colored results

VII.3.B Thermo-Compression Process

PRETREATMENT Even if the process works without, better results were achieved with a pretreatment. Applying a reducing agent on hair and washing it properly out before pressing, created a more even gluing. In the project, it was used a premixed foam solution (containing <10% ammonium-thioglykolate), referred to as RA in the following. Other reducing agents like Sodium Sulfite could be possible alternatives. It is assumed that the strong disulfide bonds of the hair are broken through the application of the RA, which causes an easier shape adjustment. Pretreatment parameters are time and amount of the applied RA solution. Hence it was experienced that the more intense areas are covered with RA the better results were achieved. In addition, the longer RA is on, the more effective it is. Times were tested starting from no treatment to 20, 40, 60 minutes.Due to more evenly melted results and shorter pressing times the pretreatment of 60 minutes is applied. The more and the longer pretreatment is used, the more intensely it has to be washed out, ranging between 20 to 40 minutes per sample to avoid ammonia- like odors. This specific smell can sometimes slightly be perceived even in the pressed samples. Considering the change in reducing agent could offer advantages in terms of sustainability, user friendliness and odor. Figure 39 Pretreatment process. Soaking Hair with reducing agent in foam version.

Water was discovered as beneficial since it probably acts as plasticizer during the compression process. Therefore, all samples were made wet when placed in the mold, before pressing. Preferably soaked in 30 min.

Testing showed that the best amount of hair is around 9 – 12 g for the 10cm on 10 cm mold to have enough contact area of the fibers for gluing together but not being too thick to avoid gluing.

INFLUENCE OF HEAT & PRESSURE

Since hair is a very good heat isolator and forms air cushions it is important to Figure 40 The Samples is made wet before the pressing process structure it. Thicker layers of randomly placed human hair could cause after placing in the mold troubles in heat and pressure allocation, what could cause spotted melting as can be seen in figure 41. The more equally pressure is applied, the more evenly melted is the result.

The challenge of distribution of the hair fibers could be solved by the introduction of textile techniques.

In addition, the steel mold needs time to heat up. This is important considering outcome changes for the first run when using a cold mold, or alternatively warm it up before to keep it cohesive. For wool compared to hair, the settings have to be slightly adjusted. Due to the temperature rise of 10 °C, the time is cut down to 20 minutes pressing time in total.

Figure 41 First trials with random hair placement resulting in

spotted melting. The melted parts show a smooth, stiff and shiny surface 37

Figure 42 Bench press machine 20 tones with mold

TECHNICAL PROCESS ANALYSING: DSC TEST indicates melting of keratin above 200°C, it can be assumed that a thermal Differential scanning calorimetry (DSC) is a method for examining the reaction transition could happen above 200 °C. For further evidence a TGA Test of polymers to heat. The resulting graphs, therefore, provide information about (Thermal Gravimetric Analysis) would have to be conducted up to 500°C. the melting of a crystalline polymer or the glass transition (Humboldt University Also, a DSC with virgin hair could help to classify the results more in detail.3 Berlin, 2020). Since Hair is based on the protein keratin which is a biopolymer (Saha et al., 2019) a DSC test was conducted in 3 cycles with pre-treated and Concluding it has to be pointed out that from a purely technical point of view already pressed hair to learn more about the melting process itself. Results the notion of ‘melting’ for the happening is not correct. It should rather be are shown in Figure 44. Following DSC test method was applied: spoken of a sticking or gluing process. 1. Equilibrate 25°C 2. Ramp 10C/min to 220°C 3. Ramp 10C/min to 25°C 4.Ramp 10C/min to 220°C

The diagram shown in Figure 44 illustrates the evaporation of water as a very broad peak from 50 to 150°C. In contrast the second heating shows no transitions under that temperature range. According to Mikael Skrifars, professor for Polymer Technology and Resource Recovery at the University of Borås, it can be concluded that there is no melting in that temperature range. Herewith it is evident, that the process when the composite is formed is based on something else than melting. Possibly the presence of water acts as a plasticizer during the process and allows the fusion of hair. Further it can be seen in the scans of the DSC results that there is a Figure 43 DSC Machine in the Polymer Lab of the University of Borås. Tests decreasing curve around 200°C. Based on data from extracted keratin which provide information regarding the melting behavior of polymers.

3 Mikael Skrifars, Professor for Polymer Technology and Resource Recovery, University Borås, Email Conversation about Interpreting the conducted DSC results, 22. March 2020

Nevertheless, the use of the notion “melting” in the following work refers to the THE PLASTICIZATION & MATERIAL INFLUENCES above described process below 200°C. The visual memory of melted plastic Outcome of the thermo-compressed hair is a stiff, brittle material with a sleek gives the audience, mostly assumed to be designers, a better understanding. and shiny surface as shown in Figure 45.

Following the development and influence of the applied Textile Techniques on the outcome will be presented.

Exemplary sample in interaction can be found at https://www.instagram.com/p/B_O6gV2gq5F/

Figure 44 DSC results comparing all three cycles. No evidence for melting is Figure 45 Example of result of non-woven, thermo- visible. The course of the curve suggests that water acts as plasticizer during compressed brown hair the fusion process. Interpretation by Mikael Skrifars.

Figure 46 Close-up to the plasticization process: Transition from non-melted to the melted state.

Hair Sample blond - brown ordered in stripes.

VII.3.C Non-Woven Process

The Non-Woven process contains two versions. Whereas one is using the hair fiber as reinforcement for a bio based thermo-plastic, the other version consists of pure hair.

PLA COMPOSITE The bio based thermo-plastic Polylactic Acid, in the following referred to as PLA, is used in the industry for composite manufacturing as well as in the 3D printing filament. It is considered the more sustainable choice in plastic matters due to its plant base. It is derived from renewable sources such as cornstarch or sugar canes (Rogers, 2015).

For the composite processing the hair fibers were pre-fused into sheets. This Figure 47 Generated pre-sheets out of reactive was conducted on a normal heat press machine using heat, low pressure and dyed Hair. hairspray to make them stick together. The sheets where cut in modules and placed into shape, fused with the plastic in the melting process. PLA was placed under and over the hair sheet for equal melting. Since the hair in this version is glued together with the PLA, the keratin is not affected. It is not turning into the wet-looking state. Color is, therefore, a strength of this technique it is arranged in graphical patterns. Previous dyed hair with acid and reactive dyes was used.

Figure 48 Petri dish with PLA fibers.

Figure 49 Exemplary process for the Non-Woven Samples. Prepressed dyed hair is cut in modules according to a stencil and arranged in the mold for pressing. PLA fiber is placed on both sides for equal spreading. At the far right: result with PLA fiber. The bottom picture shows a close-up of the PLA sample.

Figure 50 Diverse color and structure combinations with inspiration figure showing traditional arrangements patterns for flooring.

Figure 51 PLA - Hair Composites; Presented with base materials, dyed hair and PLA fiber

NON-WOVEN PURE HAIR

In addition, non-woven pure hair samples were explored. The 3D surface pressing technique is not depended on other textile techniques to create a controlled expression, hence it is shown under this chapter as well.

For this technique brushed and pretreated hair is placed in the mold after weighing the amount. In the next step the loose hairs are distributed by eye, an even distribution can therefore only be estimated. In the case of the 3D surface manipulation a metal grid with structure is placed in between the hair and one side of the pressing board, which presses an imprint into the material. To be able to inlay the metal stencil the metal plates instead of the squared mold has to be used. After the pressing the metal sheet is removed as long as the sample is warm.

Digital version can be found at: https://kaiserromy.wixsite.com/keraplast/nonwovenprocess

In the following the variety of tests including findings regarding 3D structure, patterns and light are presented.

Figure 52 Non-woven pure brown hair; without metal sheet application; Hair generates air traps after pressing. This becomes clearly visible on the bubble optic of the surface.

Figure 53 Non-Woven Pure Hair: Overview 3D Surface variations: small circles, big circles and squares

Figure 54 Exemplary Process for the Pure Hair non -woven 3D Surface technique. Conducted on unordered, pre-treated Hair. The left picture shows the hack of the flat mold by placing a metal sheet with structure in between the press boards. Different sizes and structures can be achieved depending on the perforated plate. The right picture shows the result after pressing.

Figure 55 3D Surface pattern big circle. Sample, structure details and exposure to light

Figure 57 Details of the squared 3D Surface pattern.

Figure 58 Samples on the light table. 3D sample at the bottom corner on the right shows the highest contrast in reaction to light. Figure 56 Squared 3D Surface pattern.

Figure 59 Scale & Light investigation. Projection of a 3D Surface sample in interaction with space and body. Thicker parts show up dark, thin layer is translucent and projectable.

multi or mono-axial, is an important parameter. Currently there are only multi- FINDINGS NON-WOVEN axial non-woven sample due to very short fiber length in the project. PLA in a

thin layer is possible to laser cut and would also open possibilities for further The big advantage of the non-woven process is the ability to fabricate even processing, depending on the needs. very short fibers, but It is harder to control the amount of fibers.

PLA COMPOSITE

The fabrication enables structured patterns, even if it is hard to control the place change within the mold under the high pressure. Color plays an important design element within the patterns, since it is possible to keep the brightness and color diversity. This adds strength to the technique compared to the gluing of the keratin base which loses the brightness. It supplements a high aesthetical quality to the original field of composites normally focused purely on function.

The stiffness of the result is affected by the ratio of hair and PLA. Normally industry uses a ratio of PLA higher than 50% compared to the amount of the reinforcement material.4 In this project the ratio was kept 50-50 to use the less binder as possible, resulting in flexible plastic sheets. The tests, therefore shows that the stiffness is depended on the PLA amount. Whereas with hair as reinforcement it is possible to generate relatively high flexibility without breaking. Out of a technical perspective, it could be interesting to enhance the pattern of the hair inlay regarding strength. Here fore, the direction of the fiber,

Figure 60 Pre-Sewn Hair Sample pressed in 3D shape with 4 Mikael Skrifars, Professor for Polymer Technology and Resource PLA fiber. Amount of melting not equally spread. Test with Recovery, University Borås, Oral Conversation about the traditional ratio of Pure Hair unsuccessful due to not enough heat transfer. PLA composites, February 2020

PURE HAIR Applying the non-woven technique to pure hair showed the importance of even distribution. Pressing randomly placed hair is hard to control and results in a very uneven surface due to bubbles caused by trapped air, as shown previously in Figure 52. To solve the problem of unequal distribution tests in form of hair powder were conducted since it eliminates the air trapping as well heat isolating qualities of hair. As can be seen in Figure 61 and 62 the tests showed insufficient spotted melting and where, therefore, not conducted further. The result could indicate that the adhesive effect cannot be achieved sufficiently due to the smaller fibrous surface. Possibly a different mold would be needed for this approach, which would allow to be filled with a higher Figure 61 Test of compression molding powder to control quantity of powder to create a higher density and thus more contact surface equal distribution of the fiber. Result shows very few for the gluing process. melting points. Inspired by the original composite methods in which woven fabric is used to guarantee the same amount of reinforcing fiber within the composite, further processing lead to the introduction of textile techniques to overcome the challenge of uneven distribution. Test with inserting a metal grid for 3D molding the surface showed that uneven distribution is no problem in combination with a metal sheet as seen in Figures 54 - 58. Probably due to the higher force applied on specific areas. Since it can be observed that the spots where the metal grid was result thinner (Figure 57-59) and therefore show higher translucency.

Figure 62 Attempt nr. 2 resulted in bigger melted area. Still not fully melted due to very thin layer and contact points of the Hair powder. Fluffy Edge.

The outcomes are strong regarding abstraction due to a very clean look which adds an unknown quality to the normally fuzzy hair expression. The thickness creates different reactions to light resulting in translucent and opaque patterns. When looking closely the pressure in a three-dimensional form makes the direction of each hair line visible and therefore creates a pattern within the pattern as shown previously in Figure 57. Testing regarding molding into 3D shape were conducted yet not successful what can be seen in Figure 60 and 63. Potential regarding a possible 3D mold enlargement of the technique can be found in the discussion.

Figure 63 Knitted woolen sample molded in a 3D shape. Even Additionally, the 3D Surface Molding can be applied to all kind of textile when keeping the shape, it remained in the soft, flexible fabrications, if the aesthetical advantages are whished. Otherwise the non- condition, probably due to inefficient heat and pressure woven process offers a time saving fabrication with highly structured distribution. outcome. It is a successful method enabling a very straight and clear control for 3D pattern creation for keratin-based samples of all kind.

VII.3.D Weaving Process

A wooden mini hand loom shown in Figure 64 was used for creation of the woven samples. The relatively short waste fibers are placed on the weft position. Cotton and linen are used as representatives of the group of non- keratin based materials, wool as keratin based material is used. Both latter materials are used in warp and weft positions.

Digital version can be found at: https://kaiserromy.wixsite.com/keraplast/weavingprocess

In the following the variety of tests regarding the influence of the weaving technique on textile and material qualities are presented. Followed by the summary of findings.

Figure 64 Exemplary Sample visualizing the combination of the weaving- compression process. Starting from the upper left: Weaving on the Mini-Handloom and Woven Textile. Lower Left: pressed result, different light setting from front and back. The result is a stiff translucent, plastic- like material

Figure 65 Woven Sample, Hair mixed with different wool yarns. Revealing the inner woven grid by forming a slight 3D surface during the drying process. Figure 66 Process of a stripy woven Cotton (peach)–Hair (brown) mix. Upper left before and upper right after pressing. Even when color loss occurs during the pressing process, the cotton yarn stays dull and soft contrasting to the shiny hair surface.

Figure 67 Hair mix out of natural virgin colors, blond and black. Woven pattern with removed warp threads before the pressing. Result shows optical focus on woven pattern and hair lines itself without line optic due to missing warp lines. This gets especially visible with the influence of light as seen in comparison with Figure 64

Figure 68 Natural hair colors laid in patterns can result in a wooden looking effect. Cotton warps are clearly visible compared to woolen ones which are melting in as illustrated in Figure 71.

Figure 70 Close-up of melted hair structure and direction of a wood looking piece showing the grain Figure 69 Comparison of two wood looking pieces. Details marbling effect, removed warp. shown in Figure 68 with warp (right) and 70 with removed warp (left)

Figure 71 Sample with woolen warp results in less visible warp stripes. The weaving technique enables to create thicker samples compared to the knitting technique. The above sample shows a very thick woven version and results opaque. Thickness influences the translucency effect.

Figure 72 Sample shows woven pattern, Hair, Wool, pressed into a 3D surface. Result reveals the pattern more clearly at thinner parts of the surface (translucent).

Figure 73 Woven Sample with 3D surface and warp as reinforcement. Pressed stiff sample is hold Figure 74 Woven Sample is taken out of the thermo-press together by the warp which enables flexibility. before the plasticization was completely conducted. The result shows a shiny, stiffer surface, but is still flexible.

FINDINGS WEAVE

The fact that hair is felting a bit when getting wet and washed and, therefore,

The results demonstrate that it is possible to achieve a high variety of qualities stays in the order enables the removal of the warp threads when carefully by controlling the hair through the weaving process. Additionally, the placed in the mold. This advantages the look by achieving controlled patterns importance of the warp on the results becomes clear. but not being reliable on the visibility of the warp line. Through this removal the focus is guided to the singe hair line which enhances an effect of wood As when creating a normal woven textile, the pattern itself is based on the grain marbling as Figure 70 illustrates. The qualities of this techniques get applied bindings. In this project the length of the hair fiber was decisive which especially highlighted in the contact with light. When using natural colors the patterns are possible. Due to the short fiber length of the waste hair just wooden effect is pushed. The warm expression shows potential for relatively simple patterns could be created without too many details, e.g. applications in design due to the common use of wooden optics. stripes shown in Figure 67 or 68. Nevertheless, the strength of expression in structured assemblies becomes clear, especially with contrasting materials When using non-keratin yarn as warp an influence on three dimensionalities like shiny hair and dull cotton or natural contrast color combinations like blond can be observed. and brown. Cotton warp inlays result in a slightly three-dimensional surface structure as shown in Figure 66. Even when hard to predict the exact outcome, it gives In addition, the warp has an important influence and can be used as an possibilities to design beyond the two-dimensional expression, influencing the element for designing patterns and qualities. 3D surface structure. The accuracy of the warp lines is depended on the tension of the warp. Since In this case the warp can also function as technical element as can be seen a quite loose tension due to the handloom is applied, the pressure during the in the reinforcement example Figure 73. Here the novelty is to be emphasized process forces the threads to move. This can be clearly seen in Figure 68. that in this case the complete stiff composite consists of renewable raw The line could be enhanced through applying a more industrial weaving materials compared to traditional composites with plastic. Flexible and technique which allows the tension to be tighter within the piece, probably shapeable outcomes can be achieved. resulting in a straighter line expression. The dominance of the line pattern and general woven pattern can be designed It can be concluded that the textile technique of weaving has a significant through the choice of materials. While keratin based materials are melting in influence on the design of the surface, flexibility and straight lined patterns, and resulting flat, non-keratin based materials stay dull and flexible. which can be enhanced with light.

VII.3.E Knitting Process

For the Knitting process samples were created on the domestic Silvereed Machine (Figure 75, left), single as well double bed. For a few individual pieces, it was worked on the V bed Dubied Machine (Figure 75, right). The hair can be processed via a manual hanging in on single bed or an inlay in double bed. While the inlays can be conducted with short fibers the clearness of a pattern through manual hanging is depended on a decent fiber Figure 75 Knitting Samples are conducted on Single and Double bed through length, preferably over 10cm. manual hanging and inlays.

Digital version can be found at: https://kaiserromy.wixsite.com/keraplast/knittingprocess

In the following the variety of tests regarding the influence of the knitting technique on textile and material qualities of Kera-Plast are presented. Followed by the summary of findings.

Figure 76 Close-up of the Plasticization transition of a Wool-Cotton Blend. Mèlange knit. Wool, white and green melts in, whereas cotton, 67 blue, 3D looking, line is highlighted

Figure 77 Exemplary process of a Knit-Sample. Hair - Wool Mix. Single-bed. Manual hanged in Hair in wave pattern. Results in a very thin and brittle plastic like layer. Therefore, highly translucent. Turquoise Wool adds high color contrast whereas surface structure is the same thickness.

Figure 78 Exemplary process of a Double bed Knit-Sample. Hair - Wool Mix. Dubied Machine. Double–bed with hair inlay. Results in a thicker layer than single bed and is less brittle due to thickness. Loops result in a print optic. Double-bed outcome shows an optical depth with light due to the visible fore and background of the loops. Outcome is different from front and backside.

Figure 79 Comparison of optical pattern impression of a Hair – Wool Sample. Left: Double bed; Blond hair as inlay results optical in the background. Loops show a pattern-like appearance in the foreground. Stitch length and tension are clearly visible in loop expression. Right: Single bed; Sample is thinner compared to double bed, shows a higher translucency effect and is more brittle. Pattern with manual hanged in hair is in the focus of expression. Due to very thin layer of material sample resulted not in a completely melted state.

Figure 80 Knitted, double bed samples. Left: Cotton, light blue. Right: Wool, middle blue. Both created on Dubied Machine, fine gauge. Differences can be noted in the appearance of the surface expression between cotton (dull) and wool (shiny, print impression) yarns as seen in the close-up on the right. Additionally, the color change of wool to the darker stage through the melting is visible.

Figure 81 Wool sample exploration. The left upper shows a cotton wool blend in mélange knit, white-blue-green; whereas the lower left pieces are a pure wool version (same base, slightly and fully pressed), white. Right upper picture displays the overview of the wool exploration including a 3D surface piece. Lower right picture zooms into a close-up of the 3D pressed piece; just background melted; wool, mélange, white-pink.

Figure 86 single bed, pure wool Figure 85 double bed, wool – hair white, tight stitch length inlay, loose stitch length

Figure 83 single bed, cotton – hair, Figure 84 single bed, wool – hair, Figure 82 single bed, wool – cotton manual hang in, high hair amount manual hang in, wave pattern mélange, smaller sized stitch length

Figure 87 Upper picture: Overview of exploration regarding flexibility based on combination of cotton and keratin based materials. Bottom pictures: Hair - Cotton. Manual insertion of Hair in Cotton. Single bed. After the pressing the Hair gives stiffness to the still flexible piece due to the material combination.

FINDINGS SUMMARY KNIT cotton or contrasting color combinations highlight the patterns. Knit gives the possibility of color and yarn combination through the mélange technique. A The results demonstrate that it is possible to achieve a high variety of qualities blend of wool and cotton enhances the clearness of a visible loop line (cotton) by controlling the hair through the knitting process. Whereas a straight ordered in the melted surrounding (wool), what can be observed basing on Figure 76. expression in detail is hard to achieve, knitting enables to create patterns The visibility of the loop pattern, as well as of the shining through backside in resulting in a more organic outcome. The flexible knit moves under the applied case of double bed samples, can be enhanced with light. This is concluded pressure, which can be seen in the results of the knitted dark blue sample in based on Figures 88 and 89, showing the same sample with and without light. Figure 80. Additionally, the high influence of the loop depending on gauge and stitch length as well the amount of beds it was worked on becomes clear. When using non-keratin yarn as scaffold for hair an influence on three dimensionalities can be observed. Whereas it is hard to achieve very strictly Again, the length of the hair fiber was decisive which patterns are possible to detailed patterns, knitting enables a precise control of yarn and hair achieve. Longer strands could be hanged in manually whereas shorter fibers distribution within rows. Cotton parts can function as reinforcement for the had to be fabricated as inlay. This has a high influence on the expression of brittle hard keratinous plastic or enable shapeability (Figure 87). the sample. While in the first variation the hair creates the focusing pattern (Figure 84), it functions as a background in the latter (Figure 85), both Summarized the textile technique of knitting has a significant influence on the compared in Figure 79. Due to the inlay effect of the hair building the flexibility and design of organic patterns with loop motive, varying depending background attention is drawn on the loops, also depending on color choice. on gauge, stitch length, bed and yarn. Especially double bed creations can be Double bed creates a both sided effect as well a higher sample thickness. enhanced with light due to adding a dimensional impression.

Overall the loops are clearly visible and can function as design element, referred to as loop print, depending on stitch length, tension, manual manipulation. The looser the tension and bigger the stitch length the bigger is the resulting loop print. As well stretching the loop through stuffing is visible in the result as can be seen as well in Figure 84. Additionally, the expression varies depending on the material choice resulting in shiny or dull combinations. Especially contrasts like shiny hair and dull

Figure 88 Knit double bed, loose stitch length, cotton (blue) and hair Inlay (stripes, middle blond / blueish), without light

Figure 89 Knit double bed, loose stitch length, Cotton (blue) and hair Inlay (stripes, middle blond / blueish), with light from the back

As well as the use of water as controlling element made the fabrication easier VII.3.F General Findings and the result cleaner for all applied techniques.

GENERAL FINDINGS OF THE DESIGN PROCESS: SUMMARY OF A general challenge for designing with waste has been the availability of RESULTS AND INTERPRETATIONS waste, as it depends on the amount, color, and length of the hair of the volunteer cuts. As it turns out, it is an enriching challenge for finding diverse In the following, findings regarding the applied textile techniques are fabrications in the design process and hence should be seen as a contribution presented and interpreted. The detailed findings of each single applied textile to diversity and uniqueness also in the future. Allowing for different types of technique were previously discussed at the end of the presentation of the fabrications and combinations have been developed, which can be adapted respective technique. The following builds a summary of the common findings to the individual needs of the fiber. Whereas short fibers could be processed of the overall process and sets the findings in relation to each other. as coarse non-wovens, longer fibers can be inlaid with weaving or knitting Additionally, this summary is supported by Figure 90 and 91, which highlights techniques with different yarn tensions and densities. Longer strands can the relation between the design parameters and the outcome. It should offer result in more precise and structured patterns or organic knitting hang-ins as an overview of a toolset to sum up which result can be achieved with certain for example Figure 77 shows. Shorter ones are better suitable for uni-colored parameters. samples. The structuring is still a challenge due to the pressure, which makes the light fibers move within the mold. Also, still bubbles and impurities occur on the smooth surface. CONTROL The thermo-compression process itself is highly beneficial for the use of short It can be concluded that the hair fiber waste is very hard to control as well to waste fibers since it enables a creation of one surface. In some cases, the work with in general. The fibers are tiny, thin and lightweight, can be outcome achieved through purely the textile techniques would fall apart when electrostatically charged quickly and therefore stick to nearly everything while used due to the short fiber length. Thermo-pressing enhanced a clean and working. This especially shows when trying to create aesthetical controlled look for all textile techniques. arrangements, repetitions and details. The choice of using textile techniques to control the fiber lifted the possibilities on another level and enabled to play Therefore, the combination of both techniques invites to control a resource more with patterns and repetition. currently not in use.

DESIGN PARAMETER: COLOR & MATERIALITY process. After the gluing, the color turns into a translucent and wet-like appearance, therefore, the use of dyed hair in the pressing process showed In addition to the chosen technique, the base material and the choice of color a lack of efficiency (Figure 71) Successful examples could be noted in the influences the sample in aesthetical and functional concerns as will be shown color shade of dark blue turning greenish. As well as blue hair dye (Figure 55), in the following steps. not on acid or reactive dye basis (Figure 104). Hence, the category with the most brilliance in colorings is the mixture with Colors of hair as well as wool change in the wet-looking state after the PLA. By inserting the fibers into the transparent PLA, the color based on procedure. This has to be considered when choosing the base materials. The acid/reactive dyed hair can be preserved in comparison to the melting outcome therefore is hard to predict beforehand. Yarn without keratin process. therefore can act as the colorful touch within the sample as seen in Figure 65 or 80, since this stays in the bright color shade, depending on the supplier. NATURAL HAIR Depending on that, the natural color plays a crucial role. Brown hair is hard to work with regarding pleasant aesthetics and therefore must be highlighted INTENSITY& DYE with other yarns or smoothly combined with other natural shades. Therefore, The natural color of the hair can be changed by applying acid or reactive the wood looking approach is promising and highlights the potential of working dyeing, but the influence of the natural base hair color is decisive for the with contrasting but natural colors. intensity and correctness of the desired result. Even on blonde hair, the color strength and shade is limited compared to pure white wool and existing Additionally, works based on natural color variations, the so-called virgin hair industrial dyeing methods. state, cause less contamination of to the hair. That means less negative Without the use of bleaches or peroxide-based products available on the environmental impact. cosmetics market, the brilliance of the color is dull and matt. In general, hair dying processing on unbleached hair is difficult to predict; a consistent result TRANSLUCENCY is, therefore, difficult to achieve. When plasticized, translucency occurs in the melted areas depending on thickness and color of the virgin hair. The thicker the material, the less It became visible that color changes occur in the pressing process. The translucent. The darker the original hair the less translucent. Acid and reactive already pre-dyed color shows a high loss in intensity due to the pretreatment dye treated hair loses a lot of color during the pretreatment, whereas it is

influencing the melted color to a low degree. However, most effective on blond Due to the resulting translucency light plays an important role highlighting the hair and blueish dyes. expression created through the individual textile techniques.

As can be seen in Figure73 virgin blond hair results in yellowish translucent KERATIN BASED FIBER: HAIR / WOOL layer. The shade turns more brownish the darker the base material gets as As examples in Figure 82 and 83 show wool can with some adjustments be Figure 69 shows. Interesting to notice is that the completely white wool results equally well processed with the elaborated technique due to its common in the same yellowish translucent shade as blond as seen in Figure 81 and keratin base. Since the background of the project is based on human hair and 86, therefore, it could be concluded that the keratin itself causes the yellowish wants so target our mindset as well as introduce hair waste as an unused touch. resource, it is focused on hair waste. The translucent effect will be lost when pressed little too short, assumingly While wool melts in the same way after pretreatment it results in a print optic resulting in the state before the glass transition, or too long, resulting in the with stiff quality. Changes of color to the wet state occur. The surface is slightly burnt state which gets opaque again. smooth and shiny. The result is translucent depending on color and thickness. The thinner it is the more translucent it is, but also the more brittle. The resulting translucency of the ordinarily opaque hair through the Whereas wool as keratin fiber opens a lot more industrial fabrication compression molding introduces new value for the design parameters. Since possibilities regarding color and patterns through industrial weaving and this opens new possibilities and applications for the use of the keratin fibers knitting techniques. Wool also kept the color intensity, whereas it was found and a biopolymer. that it varies depending on the supplier. The track of dyeing methods used for Also, due to impression of plastic, it would be interesting to push the yellowish the specific yarn, which kept the color intensity, is, therefore, a challenge, but or colorful translucency towards more diverse color shades or even an opportunity for further elaborations if needed. Further research focusing transparency. Based on above experiments it can be speculated that the on wool could be promising to create a new perspective in the general textile whiter the hair is, the more translucent it gets. Whereas it is visible that pure field and enhance the application possibilities for currently unused wool waste, white wool results in the same yellowish shade than blond hair. Tests with which is considered being to coarse for textile industry at the moment. grey hair could not be conducted due to missing amounts of natural grey hair. Possible alternatives could be the use of bleaching to reduce the amount of NON-KERATIN BASED FIBER: COTTON color to higher the translucency with having the environmental impact in mind. Cotton or other non-keratinous fibers show a more tactile surface impression since it is not melted down during the compression process. The outcome

appearance of the thread seems therefore more soft and dull. This effect can fabrics, the support of non-keratin based yarn is needed, what means weave be especially made use when playing with the contrast of the melted areas. or knit should be chosen, as desired combined with the 3D surface technique. Even when several color changes were noticed, the dullness of the fiber In general, it is possible to generate a thicker, and therefore more opaque creates strong contrast. This enhances the respective look of the textile outcome, through weaving or non-wovens than through knitting. technique. Also, due to the non-changing qualities it stays flexible and can therefore act as flexible parts in combination with the plasticization. The PRINTING remaining flexibility can enhance shapeabilty in all applied textile methods. Reflection on the completeness of textile techniques showed that print was left out. Even when this was a conscious decision, possibilities of applying DESIGN PARAMETER: TECHNIQUE print pattern with the pretreatment emulsion on top of the already knitted or woven hair samples, which could have resulted in different melting stages and NON-WOVEN / WEAVE / KNIT therefore show a pattern due to the sleek or hairy surface have not been Due to hard control of the hair fiber, the choice of using textile techniques to conducted. Due to some test samples based on a mix between pretreated and structure the fiber lifted aesthetics but also the processing of the project. It non-pretreated hair, the result showed that the difference is not too intense to gets clear that the different textile techniques are the basis for different make it clear. Nevertheless, the theoretical concept could work and therefore expressions in combination with the used material. is an interesting approach to proof for the sake of completeness.

The results show that the conscious application of each technique can lead to a certain design expression. Designing with weave enables to implement lines as a dominant element. Knit on the other hand creates a Loop – print impression. While weaving enables more straight and structured patterns, knitting convinces with an intriguing, organic overall look. The non-woven technique applied with PLA has the strength in color and structure arrangements, while the non-woven pure hair process offers a reliable method to create an even more clear and straight structured outcome than the woven variation with internal 3D surface effect due to the warp (Compare Figures 66 and 72). For the creation of flexible

RESULTING DESIGN QUALITIES 90 and 91.The possible variety of patterns ranging from the organic to straight,

colorful to natural, as well as opaque to transparent looking makes it possible Following qualities of Kera-Plast can be influenced and controlled through for designers to apply the technique to their wishes. The different techniques application of the textile techniques and material choices when designing (See also help designers to be less depended on the length of the fiber and the Figure 90 and 91 below). current availability. The achieved outcome through each different technique

can be taken from the table below (Figure 90 and 91). This compilation is SURFACE based on the findings listed and discussed at the end within each category Slight 3D surfaces can be created though inserting a cotton warp through shown above under the REMAKE. weaving. Even when this version results more random and less clear.

The 3D surface molding, explained under the non- woven process fabrication SHAPEABILITIY can be combined with all other textile techniques. The possibility to Throughout the process it was found that the use of non-keratin based compression mold the hair in shape shows a lot of potential for further material material not only influences the optics but also the function. Thus, flexibility explorations regarding surface structures, imprints or similar. The surface and can be generated in knit samples as well as in woven fabrics by using non- shape of the mold are decisive for the outcome. Due to time and costs limits keratin based materials, e.g. a cotton blend. Distance and arrangement is just the existing equipment could be used. Molds could be theoretically therefore a parameter for flexibility which can be controlled by the textile enlarged through different three-dimensional shapes as can be seen in Figure techniques e.g. through inlay or material blends. Also, the reduction of the 63. The test shows the theoretical possibility, whereas the pressure pressing time allows a less stiff but shiny result independent of the applied distribution failed in the practical part. Detailed explanations of the technical textile technique. Vice versa blends of keratin with non-keratinous materials issues can be found in the discussion talking about future implementations. can be stiffen through pressing depending on the quantity distribution. This ability opens the field of application of the material to 3D surfaces, shapes This finding is especially interesting in the textile field when considering that and possibly objects. this level of stiffness of a textile normally is achieved in combination with non-

biodegradable resins or plastic fibers like monofilament. This means that the

found process can contribute to the enlargement of possible uses in fiber PATTERN based design, helping substituting non-biodegradable through natural ones. Comparison of the findings were mentioned and shown previously under the point NON-WOVEN / WEAVE / KNIT and can additionally be found in Figure

LIGHT Due to the resulting translucency of Kera-Plast light becomes a parameter for the design process with the material. It can be concluded that the thinner the sample is, the more amount of light can wander through. Light makes patterns even more visible. This can be seen with the 3D examples Figures 57 – 59 or 88-89. In summary, it can be said that light can enhance all design details which are created by the choice of material and textile fabrication in the optical expression. This, therefore, opens a further quality for the application of the materials in design.

The resulting categories of presentation are based on these above listed common qualities, which can be to achieved through all the applied textile methods.

Figure 90 Presentation of color and material findings: Properties of the material after the thermo-compression process

Figure 91 Presentation of findings regarding the influence of the textile technique in relation to pattern, shape, hair fiber length and light.

VII.4 Result: The Reuse

Figure 92 The REUSE contains the resulting material categories highlighting qualities for possible applications. Also, material tests e.g. regarding tensile strength, conducted in the future would be part of this step within the cycle.

The results are organized in 3D Surface, Pattern, Shapeability and Light. These categories presenting the qualities achieved through the above- mentioned methodology leading the step for possible applications.

In addition, visit the digital presentation of Kera-Plast on the following webpage: https://kaiserromy.wixsite.com/keraplast

VII.4.A 3D Surface

The category 3D Surface displays the result in regards to a 3D textured surface of thermo-compressed hair. All textile techniques described above are covered. Various possibilities of 3D patterns are presented.

Figure 93

Figure 94

Figure 95 Figure 96

Figure 97

VII.4.B Pattern

The category Pattern displays the potential regarding 2D patterns in relation to the applied textile techniques, color and material of thermo-compressed hair. A spectrum of patterns is presented, ranging from structured to organic and natural to colorful variations playing with translucency and opaqueness.

Figure 98

Figure 99

Figure 101

Figure 100

Figure 102

Figure 103

Figure 104

VII.4.C Shapeability

The category Shapeability displays the shaping qualities of Kera-Plast based on material blends in relation to the applied textile techniques.

Figure 105

100

Figure 106

101

Figure 107

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VII.4.D Light

The Light category proposes the aesthetical quality of Kera-Plast by highlighting the expression and details created though the applied textile techniques.

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Figure 108

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Figure 109

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Figure 110

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Figure 111

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VIII Discussion Should a realistic upscaling occur, systems must first be created and implemented, which must be set on a fair basis.

This would mean a new mindset and values would have to be applied. Reflections on designing with hair through the compression molding process. Especially the factor of locality would also have to play a significant role in this Interpretation of results and the classification into future developments. system. It must be assumed that certain hair materials may vary from region

to region and that precisely this diversity is also considered valuable. Out of

today’s status of the systems, this is a challenge but could be seen as a Realistic solution proposal versus theory construct: chance to implement diversity as enrichment, more than it is practiced Is the hair system realizable? nowadays.

VIII.1 Speculated Systems Besides, the acceptance of a possible non-permanent availability must be given. A well thought out system from collection to the recycling of the hair Globally unequal population growth & Fairness & Embedding of a material would have to be introduced in order to use the waste resources on system a larger scale. Even though the use of waste can lead to an uneven availability in amount as well as size. The introduction of a recycling system alone is The prediction of population growth on earth is said to be unequally distributed currently only a theoretical idea and requires further research. across the world regions according to forecasts. Asian countries are estimated to have a higher population density, however, a general increase is expected. It becomes clear that there are more significant hurdles to overcome in the (United Nations Knowledge Platform, n.d.). Thinking in current, old fashioned case of scaling up this speculation due to current consumer habits. Our trading systems this causes problems since there is a vast imbalance between values, which are the cornerstone of consumption, are currently changing. countries of the production and consumption of consumer goods, and the The future developments could be beneficial for the hair systems by focusing system is far from being fair and balanced. on regional production and slower growth. It must be emphasized that the conceptual approach of the project is based on the story of a balanced system trade without suppression of specific population parts.

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Could society accept it? someone might speculate that once a material or habit makes it to the level of What may the development be researched further? “normal use”, it will not be questioned further, as is the case with our How may the idea be commercialized or applied? acceptance of animal products. This also becomes clear at the above- mentioned example of cannibalism practicing tribes used as the inspiration for the project TO EAT OR TO BE EATEN (Hurst, P., 2017). VIII.2 Challenge of usage potential of the It should be cited that while aesthetics can also increase habituation, it does not solve the problem of protecting the privacy of very personal material. material The biological composition of hair based on personal DNA makes the tracing back to the person theoretically possible (Minnesota Department of Public The challenge of shifting mindset, ethics, and cultural values Safety, n.d.). The question is to be asked whether, by changing the mindset or habituation, this characteristic as an expression of individuality can be seen Since the idea is based on a research question that touches on ethical and as an opportunity or could be misused as a restriction of personal rights. cultural aspects with a very novel perspective, it is difficult to assess at this As shown there are a lot of speculations involved which make the positive or stage whether humanity will ever be able to change their ethics to accept Hair negative influence on society and sustainability hard to predict. as a material for use at this point. Changes regarding a mindset could take generations. Change never happens without discarding the current status quo, which also Many points, among others, the disgust for other foreign personal material applies to the mindset. Thus, it can be said that a sustainable future cannot leftovers and the way history has dealt with it are factors that cannot, and be ensured with one already known solution. Especially the mix of multiple should not, be overplayed by just abstracting a material visually for long-term approaches is beneficial. Concluding, it can be stated that the world requires acceptance. Abstraction should, therefore, exclusively be accompanied by diverse solutions, and this approach could contribute despite challenges as enlightenment about the context and material itself that people can get used one of many to a more sustainable materialism. to the new way of treating the material also with knowledge, not just visually. Aesthetics can, therefore, help a lot regarding the approximation and emotional acceptance. Another factor, the acceptance of the habit, can, in turn, only be achieved through use, which makes it more challenging to enter the loop. However,

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The technical challenge of utilization & industry a thermo-compression fabrication process could be an option to continue tests for bringing it in an application. As well the pretreatment, currently carried out MATERIAL ASSESSMENT with ammonium-thioglycolate solution, even if very low dosage, should be At present, the material is still in the initial phase and would, therefore, have questioned regarding the safety and ecological effects in a more extensive to undergo technical tests to estimate which exact material properties can be and regular application. The same applies to the environmental impact when achieved. In general, every material has advantages and disadvantages, and hair gets contaminated, including effects on the recycling of the processed must, therefore, be made dependent on the correct application. material. The search for a natural, less harmful reducing agent could be an Even if the samples with the developed process seem promising and prove approach. that something happens when applying the method, an enormous amount of research would be needed. The conducted DSC Test proved that there is no TEXTILEFABRICATION ‘melting’ happening out of a technical vocabulary perspective, therefore, it can Besides the limiting factors of knowledge and machinery for the scaling up be spoken of a gluing process. A TGA could show how far a melting could be regarding the pressing process, the textile process also has to be questioned. intensified or influenced by the processing. Even when resulting in stiff However, the limit in the size of the hand machines is not as decisive as the material, it would be interesting if the process is reversible as well as how it amount of time and preciseness needed to create a textile piece. At present, performs in use, e.g., under pressure, forces, or bending, water, UV light etc., it is possible in the industry to produce huge quantities of fabric in a rather therefore, further tests of technical properties are desirable. short time. This is works because of the advanced machinery in the textile Collaboration with researchers and material scientists would be necessary to industry. Scaling up the hair fabric, currently produced by hand, would require understand the technical side in depth. a massive amount of time and ,therefore, money for production. Assuming industrial machines could be applied, which would be able to process the short THERMO-COMPRESSION PROCESS AS A METHOD hair fibers, it would be more realistic and easier to implement in production. Challenges regarding the process and method are occurring as well. During Hair has special requirements for a textile machine, as none exists yet. the work, the scale and form of molds were limited due to time and costs. Moreover, hair is more slippery, thicker and more stubborn than wool. Hence Bigger Machines and 3D shaped molds are possible in theory but are very machines would have to be specially adapted. likely to cause changes in the equal pressure spread resulting in insufficient An example that shows successful adaptation of machinery within the industry melting. That could consequence in technical difficulties to produce objects on is the British company John Boyd Textiles Limited. The traditional company an industrial scale. A Collaboration with companies with experience regarding fabricates high-quality horse hair fabric through weaving since 1870. The

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company adjusted common weaving machines to its needs by adding a mechanical picker, which is able to tease one hair from the beforehand carefully prepared horse tail. The 150-year-old special looms are still in use today and get adjusted by the regular depending on the variations in hair (John Boyd, n.d.). Therewith John Boyd Textiles makes it possible to process horse hair as an uncommon material with special needs on an industrial scale and thus has made the leap to a possible mass production.

Further the company states that the width of the fabric is determined by the length of the hair (John Boyd, n.d.), which draws back to the difficulties working with waste. The average fiber length of human waste hair is between 3cm – 15cm which adds more challenges for implementations in an industrial textile process.

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Which findings are promising for the design and textile field? used to generate diversity. While the shape of the modules must be carefully What is the influence on the design process? considered in advance that it is possible to combine the modules, patterns What could it be used for? and shapes can be designed more flexibly. Uniqueness of each combination would also result in a further advantage that no exact reproduction of the individual sample would be necessary, since the mosaic could be assembled VIII.3 Challenge of designing from the parts that are present, adjusted to the needs. A modular system would guarantee a better forecast with the hard-predictable availability of the

raw material resource.

This would require a designer’s ability to know which technique would be most Detailed findings regarding the applied textile techniques are previously suitable for the needs of the varying material and challenge the design discussed under the General Findings of the design process. In the following process though permanent adaptability. reflection on the overall method and consequences for the future textile design process are discussed. Either way perhaps the challenge of scaling up could be solved by finding the

right application through the design process. SCALING-UP STRUCTURE AND SURFACE

Since the textile fabrication is an integral part of the design of Kera-Plast, there APPLICATIONS OF QUALITIES are limits to consider as shown in the previous discussion. As already touched The possibility to compression mold the hair in shape shows much potential upon above, industrial machines cannot process hair currently due to the for further explorations regarding 3D surface as well as imprints or materiality and short fiber length which means without mechanical investment similar. These could be theoretically even enlarged through different shapes it has to stay on the handmade level. However, from a design perspective, and three-dimensional molds as already mentioned under the discussion in other ways to achieve a scaling outcome could also be considered. Be it by General Findings. Managing to fabricate 3D shapes could enlarge the modules and forms which could be put together as mosaic-like surfaces. Tile- application towards 3D modules or objects, perceivable applied in the interior like coverings or surfaces would be conceivable. Here the focus within the or architectural environment. Due to the interactivity with light placement in design process would move to the interaction of the individual modules and relation to space would be conceivable. As described in the state of the art creating the best combinations rather than trying to achieve a previous set section Echasseriau manages in the project HELMET 95% PURE WOOL to huge outcome. Which would give the designer independence of the available process 3D shapes into an object based on wool, including tests of hair material. The dependence on the waste material to be obtained could thus be

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(Figure 24 and 25). Concluding this also would be possible with hair fabricated assessment of functional potential. This also points out that the designer in textile techniques when the right machinery as well necessary knowledge needs a multi-perspective approach when using the material. is available. METHOD Therewith the potential of the material would extend to various fields of Besides hair, the method could also be transferred to other keratin-based application. materials, as already explained above in the General Findings. Especially in The current presented categories of 3D Surface, Pattern, Shapeability and the field of wool waste, which is considered too coarse to produce fabrics, this Light proposing the design perspective. The possible variety of patterns would be a conceivable application. ranging from the organic to straight, as well as colorful to natural, opaque to transparent look makes it possible for designers to apply the matching Even if an interdisciplinary approach costs a lot of energy during the technique to their wishes. Several categories also can be merged and development, the method shows that textile processing can be an aid for enhance each other. Figure 109 for example shows the combination of 3D further processes and thus can go beyond ‘only’ a textile end-product. The surface, a 2D pattern and the enhancement with light. Thus, it shows that the combination of textile crafting with the thermo-compression method is an qualities can be seen more as a toolbox inviting for application of the material example that shows how new combinations can be created when textile and showing the potential. Light has therefore a special position since it is the thinking is brought to other areas. This leads to the consideration of whether only external design parameter, enhancing the qualities which are designed the traditional conception of a textile will change in the future also considering within the material. Especially this fact could be beneficial to consider when the current movements of designing with waste and the living. Which poses looking for applications as mentioned above e.g. within a space or new challenges also regarding a multidisciplinary approach. Especially textile architecture. methods, which form large areas from small parts, could built an important The translucency, however, is very depended on the thickness. Strength, bridge between disciplines in the future due to the just mentioned which is achieved by thickness will therefore always contrast with the developments. translucent quality. This contradiction shows that the functional factors must be considered from the very beginning in the search for possible applications. Transferring a textile thinking into other disciplines would be a way to open up The behavior of the material regarding heat resistance, water resistance, not only new fields of application and interpretation of textile design. But wind/sound shielding etc. has to be taken in account. It becomes clear that beyond that, it could help shape new material approaches and our life even if design qualities are explored it can’t go without the material systems.

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SUMMARY & CONCLUSION shown. Results ranging from organic to straight structured expression and

patterns. It is displayed that the selection of the combined material, keratin The project Kera-Plast attempts to reconnect nature, humans and their built based or non-keratinous fibers, is influencing the surface in regards to systems in circularity. It attempts, therefore, to introduce human hair currently flexibility, surface appearance and translucency. The results express a range seen as a waste material as a resource by making it more attractive for use, between colorful as well natural subtle looking variations. visually and functionally.

The methodology of Kera-Plast enables to use currently unused material Kera-Plast is a shiny, stiff, brittle and in some cases, translucent material resources as demonstrated through human hair within a design process. based on human waste hair. Kera-Plast is created by merging a thermo- Promising for the future is the transfer of the method to other keratin-based compression fabrication with traditional textile processes like dyeing, non- materials, e.g. such as wool waste. Plus, widen the potential area of use for woven, weaving and knitting. The material is formed though water acting as textile design techniques. plasticizer during the thermo-compression process. The aesthetical and functional qualities are designed through the textile methods. The results The resulting Kera-Plast material shows qualities in relation to 3D Surface, present features of the material regarding 3D Surface, Pattern, Shapeability Pattern, Shapeability and Light inviting for possible applications and further and Light. uses. The theoretical possibility to process it into 3D structures and objects

seems promising for an outlook. However, the material itself is still in the early The methodology covers three steps divided in the Rehash, Remake and stages and needs to be examined especially regarding technical properties. Reuse. While the Rehash contents the collection and preparation of the waste material, the Reuse developed methods for transforming hair waste though a Through blurring the boundaries between humans and their utilization design process. Under this chapter experiments regarding the design materials it raises awareness and shows a different perspective on human possibilities of compression molded human hair in relation to textile technique, material. Since the world is in need for solutions, the plasticization of material and surface were conducted. compression molded human hair could add value as one of many approaches

to a more sustainable materialism. It can be concluded that despite all ethical, The main findings include the transformation of the opaque flexible hair fiber cultural and biological factors, the transformation from hair waste to Kera- into a translucent stiff material and its design possibilities. The importance of Plast has the potential to contribute sustainably, functionally and aesthetically, the choice of applied textile technique for the expression of the outcome is value to our future material consumption.

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IX List of References Auschwitz-Birkenau, 2020. Exhibits Evidence of Crimes. [online] Available at: http://auschwitz.org/en/gallery/exhibits/evidence-of-crimes,1.html [Accessed 13.03.2020]

Beiersdorf, n.d. Wie schnell wachsen Haare und warum überhaupt? [online] Available at: https://www.nivea.de/beratung/schoene-haare/wie-schnell- wachsen-haare-und-warum-ueberhaupt [Accessed 13.03.2020]

Collaborations in Textile Design Research Exhibition, 2019. Intersections: Collaborations in Textile Design Research Exhibition. Catalogue, p. 5

Cross, N., 2007. Designerly ways of knowing, Birkhäuser, p. 51

Echasseriau, A., 2015. Helmet 95% Pure Wool. [online] Available at: https://alexandreechasseriau.com/HELMET-95-WOOL [Accessed 13.03.2020]

Feughelman, M., 1997. Mechanical Properties and Structure of Alpha-Keratin Fibres: Wool Human Hair and Related Fibres. Sydney: University of New South Wales Press.

Gupta, A., 2014. Human Hair “Waste” and Its Utilization: Gaps and Possibilities, [e-journal] 2014 (498018). Available at: Journal of Waste Management website https://www.hindawi.com/journals/jwm/2014/498018/#abstract [Accessed 13.03.2020]

Gupta S., Sharma A., 2018. Human hair as fibre material in reinforced concrete. Uttarakhand: International Conference on Advances in Construction Materials and Structures (ACMS-2018)

Hays, J., 2018, Facts & Details: Hairstyles, wigs, facial hair and hair care in ancient Egypt [online] Available at: http://factsanddetails.com/world/cat56/sub365/ entry-6132.html#chapter-5 [Accessed 13.03.2020]

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Hill P., Brantley H., Van Dyke M., 2009. Some properties of keratin Minnesota Department of Public Safety, Bureau of Criminal Apprehension, n.d. biomaterials: Kerateines. Winston Salem: Wake Forest Institute for Forensic Science – Hair [online] Available at: https://dps.mn.gov/divisions/bca/bca- Regenerative Medicine, Wake Forest University School of Medicine divisions/forensic-science/Pages/trace-hair.aspx [Accessed 3.05.2020]

Holocaust Research Project, 2007. Jewish Working Kommando`s in the Mongin, A., 2020. Knitted Hair Samples. [online] Available at: Aktion Reinhard Death Camps. [online] Available at: https://www.instagram.com/p/B6_LzYmIbeU/ [Accessed 13.03.2020] http://www.holocaustresearchproject.org/ar/Jewish%20Kommando/jewishko mmando.html [Accessed 13.03.2020]. Nogueria A., Joekes I., 2004. Hair color Changes and protein damage caused by ultraviolet radiation. Campinas: Instituto de Química, Universidade Estadual Humbold University Berlin 2020. Investigation of Polymers with Differential de Campinas Scanning Calorimetry [online] Available at: https://polymerscience.physik.hu- berlin.de/docs/manuals/DSC.pdf [Accessed 24. 04. 2020] Pyle, R. M., 2003. Nature matrix: reconnecting people and nature. Oryx, 37(2), p. 206-214. Hurst, P., 2017. This guy wrote a guide to being a cannibal. [online] Available at: https://www.vice.com/en_us/article/kbxyqn/this-guy-wrote-a-guide-to- Rau, T., Oberhuber S., 2018. Material Matters: Wie wir es schaffen, being-a-cannibal [Accessed 13.03.2020] die Ressourcenverschwendung zu beenden, die Wirtschaft zu motivieren, bessere Produktezu erzeugen und wie Unternehmen, Verbraucher und James, T., 2018. Elemental: How the Periodic Table Can Now Explain die Umwelt davon profitieren. Berlin: Ullstein Buchverlage GmbH (Nearly) Everything. London: Robinson. Redström, J., 2017. Making Design Theory. Jones, J. C., 1992. Design Methods, 2nd Edition, John Wiley & Sons. Rijkeboer, C., 2004. Perfect Stranger. [online] Available at: Khaleeli, H., 2012. The hair trade's dirty secret. [online] Available at: https://www.rijkeboer.com/index.php/gallery/image_full/540 [Accessed https://www.theguardian.com/lifeandstyle/2012/oct/28/hair-extension-global- 13.03.2020] trade-secrets [Accessed 13.03.2020] Rogers Tony, 2015. Everything you need to know about Polylactic Acid (PLA) Kokot, S., 2001. Keratin. [online] Available at: [online] Availbale at: https://www.creativemechanisms.com/blog/learn-about- https://www.sciencedirect.com/science/article/pii/B0080431526007658?via% polylactic-acid-pla-prototypes [Accessed 3.05.2020] 3Dihub [28.11.2019] Saha et al. 2019. Keratin derived nanomembrane for water purification. Cham: Matter of Trust Inc., 2020. Hair mats & oil spill programs [online] Available at: Springer Series on Polymer and Composite Materials https://matteroftrust.org/clean-wave-program/ [Accessed 13.03.2020] School of Natural Skincare, n.d. Creating Nourishing Products for Natural, Afro-textured Hair, [online] Available at:

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X Imagery Figure 13 Gitgit is a guitar-like music instrument with strings out of Human Hair (TopTenz, n.d.) ...... 9

Figure 14 So called Hair booms made out of old nylon stockings and donated Hair for Figure 1 Category 3D Surface: Exploring the possibilities of a 3D patterned surface cleaning the oceans from oil spills by Matter of Trust (Matter of Trust Inc., 2020)..10 structure. Example of result ...... II Figure 15 Tests for compatibility with the skin. Implants based on extracted keratin Figure 2 Category Pattern: Exploring 2D patterns in relation to material, color and under the microscope at different time stages. Screenshot from the paper Some textile technique. Example of result...... III properties of keratin biomaterials: Kerateines (Hill, Brantley, Van Dyke, 2009) ...... 10 Figure 3 Category Shapeability: Exploring the possible shaping qualities of Kera-Plast. Figure 16 Schematic of Merino Wool, similar in structure to that of a Hair fiber Example of result...... IV (Wortmann, F-J., 2009, p. 118) ...... 13 Figure 4 Category Light: Exploration into the influence of light on Kera-Plast. Example Figure 17 Human Hair structure under the Microscope (MicrolabNW, 2007) ...... 13 of result...... V Figure 18 Ethnical difference in Hair structure, (School of Natural Skincare, 2020) .13 Figure 5 Artistic visualization of the process: From Hair to Kera-Plast ...... 2 Figure 19 Overview of Properties of a Hair fiber structured regarding sustainable Figure 6 Forecasted population growth by the United Nation reaching the peak at approach, quality of a single hair structure and higher accumulation ...... 14 2100 at around 11 billion people (United Nations, 2019) ...... 2 Figure 20 To Eat or to be Eaten: a guide to cannibalism. A speculative design Project Figure 7 Visualization of the current human mindset as base of building the manmade by Chamizo, (Hurst, P., 2017)...... 16 systems. The pink arrow shows hereby the starting point of the research question. .3 Figure 22 Caroline F., 2019. Knitted Hair Samples by Antonin Mongin. (Mongin A., Figure 8 Hair jewelry and tool for creation, Victorian Hair work, n.d. (Sparr A., 1997) 2020) ...... 17 ...... 6 Figure 21 The Swing by Visser S., 2017. (Visser S., 2020) ...... 17 Figure 9 Historical Scene while cutting and collecting Hair (Sparr A., 1997) ...... 6 Figure 23 Hair-highway by Studio Swine. (Swine S., 2019) ...... 18 Figure 11 Cut off Hair of Holocaust victims displayed in the Memorial Museum Figure 24 Samples out of Human Hair and Wool for the project 90% PURE WOOL by Auschwitz – Birkenau. Paweł Sawicki, n.d., Memorial Exhibition Auschwitz-Birkenau Echasseriau, (Echasseriau, A., 2015)...... 19 [photograph, image online] (Ausschwitz-Birkenau, 2020) ...... 7 Figure 25 Final piece: Helmet out of 90% pure Wool by Echasseriau, (Echasseriau, A., Figure 10 Worker in hair factory India, n.d. (Khaleeli H.,2012) ...... 7 2015)...... 19 Figure 12 Perfect Stranger. Artwork out of human hair by Chrystl Rijkeboer, 2004 Figure 26 ...... 21 [image online] (Rijkeboer C., 2004) ...... 8

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Figure 27 Integration of developed steps in a proposed waste-stream system. Steps Figure 41 First trials with random hair placement resulting in spotted melting. The conducted in this project are NATURE till the beginnings of the REUSE ...... 25 melted parts show a smooth, stiff and shiny surface ...... 37 Figure 28: The methodology steps: Rehash, Remake, Reuse ...... 25 Figure 42 Bench press machine 20 tones with mold ...... 38 Figure 29 Judging Parameters for the development of Kera-Plast ...... 27 Figure 43 DSC Machine in the Polymer Lab of the University of Borås. Tests provide Figure 30 Close-up of a dyed hair - bioplastic sample. Part of the sample collection of information regarding the melting behavior of polymers...... 39 the Material Library of the Symbiocene...... 29 Figure 44 DSC results comparing all three cycles. No evidence for melting is visible. Figure 31 The Material Library of the Symbiocene, 2020 ...... 30 The course of the curve suggests that water acts as plasticizer during the fusion Figure 32 Hair as reinforcement in plaster & light play with inlayed Hair: two process. Interpretation by Mikael Skrifars...... 40 development pictures of samples of The Material Library of the Symbiocene, 2019 Figure 45 Example of result of non-woven, thermo-compressed brown hair ...... 40 ...... 30 Figure 46 Close-up to the plasticization process: Transition from non-melted to the Figure 33 Bioplastic-Hair pieces as part of The Material Library of the Symbiocene, melted state...... 41 2020 ...... 30 Figure 47 Generated pre-sheets out of reactive dyed Hair...... 43 Figure 34 The Rehash process includes Collection, Cleaning and Sorting ...... 31 Figure 48 Petri dish with PLA fibers...... 43 Figure 35 Visual process of Collecting, Sorting regarding Color and Fiber length, Figure 49 Exemplary process for the Non-Woven Samples. Prepressed dyed hair is cut Brushing, Washing and second Sorting ...... 32 in modules according to a stencil and arranged in the mold for pressing. PLA fiber is Figure 36 The Remake process includes the Textile preparations and the Compression placed on both sides for equal spreading. At the far right: result with PLA fiber. The Molding ...... 33 bottom picture shows a close-up of the PLA sample...... 44 Figure 37 Hair in Plastic during the Reactive Dye Process and different colored results Figure 50 Diverse color and structure combinations with inspiration figure showing ...... 34 traditional arrangements patterns for flooring...... 45 Figure 38 Color card for the dyeing process ...... 34 Figure 51 PLA - Hair Composites; Presented with base materials, dyed hair and PLA Figure 39 Pretreatment process. Soaking Hair with reducing agent in foam version. fiber ...... 46 ...... 36 Figure 52 Non-woven pure brown hair; without metal sheet application; Hair Figure 40 The Samples is made wet before the pressing process after placing in the generates air traps after pressing. This becomes clearly visible on the bubble optic of mold ...... 37 the surface...... 47

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Figure 53 Non-Woven Pure Hair: Overview 3D Surface variations: small circles, big Figure 63 Knitted woolen sample molded in a 3D shape. Even when keeping the circles and squares ...... 48 shape, it remained in the soft, flexible condition, probably due to inefficient heat and Figure 54 Exemplary Process for the Pure Hair non -woven 3D Surface technique. pressure distribution...... 55 Conducted on unordered, pre-treated Hair. The left picture shows the hack of the flat Figure 64 Exemplary Sample visualizing the combination of the weaving-compression mold by placing a metal sheet with structure in between the press boards. Different process. Starting from the upper left: Weaving on the Mini-Handloom and Woven sizes and structures can be achieved depending on the perforated plate. The right Textile. Lower Left: pressed result, different light setting from front and back. The picture shows the result after pressing...... 49 result is a stiff translucent, plastic- like material...... 57 Figure 55 3D Surface pattern big circle. Sample, structure details and exposure to Figure 66 Woven Sample, Hair mixed with different wool yarns. Revealing the inner light ...... 50 woven grid by forming a slight 3D surface during the drying process...... 58 Figure 56 Squared 3D Surface pattern...... 51 Figure 65 Process of a stripy woven Cotton (peach)–Hair (brown) mix. Upper left Figure 57 Details of the squared 3D Surface pattern...... 51 before and upper right after pressing. Even when color loss occurs during the pressing Figure 58 Samples on the light table. 3D sample at the bottom corner on the right process, the cotton yarn stays dull and soft contrasting to the shiny hair surface. ..58 shows the highest contrast in reaction to light...... 51 Figure 67 Hair mix out of natural virgin colors, blond and black. Woven pattern with Figure 59 Scale & Light investigation. Projection of a 3D Surface sample in interaction removed warp threads before the pressing. Result shows optical focus on woven with space and body. Thicker parts show up dark, thin layer is translucent and pattern and hair lines itself without line optic due to missing warp lines. This gets projectable...... 52 especially visible with the influence of light as seen in comparison with Figure 64..59 Figure 60 Pre-Sewn Hair Sample pressed in 3D shape with PLA fiber. Amount of Figure 68 Natural hair colors laid in patterns can result in a wooden looking effect. melting not equally spread. Test with Pure Hair unsuccessful due to not enough heat Cotton warps are clearly visible compared to woolen ones which are melting in as transfer...... 53 illustrated in Figure 71...... 60 Figure 61 Test of compression molding powder to control equal distribution of the Figure 69 Comparison of two wood looking pieces. Details shown in Figure 68 with fiber. Result shows very few melting points...... 54 warp (right) and 70 with removed warp (left)...... 61 Figure 62 Attempt nr. 2 resulted in bigger melted area. Still not fully melted due to Figure 70 Close-up of melted hair structure and direction of a wood looking piece very thin layer and contact points of the Hair powder. Fluffy Edge...... 54 showing the grain marbling effect, removed warp...... 61 Figure 71 Sample with woolen warp results in less visible warp stripes. The weaving technique enables to create thicker samples compared to the knitting technique. The

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above sample shows a very thick woven version and results opaque. Thickness pattern-like appearance in the foreground. Stitch length and tension are clearly influences the translucency effect...... 62 visible in loop expression. Right: Single bed; Sample is thinner compared to double Figure 72 Sample shows woven pattern, Hair, Wool, pressed into a 3D surface. Result bed, shows a higher translucency effect and is more brittle. Pattern with manual reveals the pattern more clearly at thinner parts of the surface (translucent)...... 63 hanged in hair is in the focus of expression. Due to very thin layer of material sample Figure 73 Woven Sample with 3D surface and warp as reinforcement. Pressed stiff resulted not in a completely melted state...... 70 sample is hold together by the warp which enables flexibility...... 64 Figure 80 Knitted, double bed samples. Left: Cotton, light blue. Right: Wool, middle Figure 74 Woven Sample is taken out of the thermo-press before the plasticization blue. Both created on Dubied Machine, fine gauge. Differences can be noted in the was completely conducted. The result shows a shiny, stiffer surface, but is still appearance of the surface expression between cotton (dull) and wool (shiny, print flexible...... 64 impression) yarns as seen in the close-up on the right. Additionally, the color change Figure 75 Knitting Samples are conducted on Single and Double bed through manual of wool to the darker stage through the melting is visible...... 71 hanging and inlays...... 67 Figure 81 Wool sample exploration. The left upper shows a cotton wool blend in Figure 76 Close-up of the Plasticization transition of a Wool-Cotton Blend. Mèlange mélange knit, white-blue-green; whereas the lower left pieces are a pure wool knit. Wool, white and green melts in, whereas cotton, blue, 3D looking, line is version (same base, slightly and fully pressed), white. Right upper picture displays the highlighted ...... 67 overview of the wool exploration including a 3D surface piece. Lower right picture Figure 77 Exemplary process of a Knit-Sample. Hair - Wool Mix. Single-bed. Manual zooms into a close-up of the 3D pressed piece; just background melted; wool, hanged in Hair in wave pattern. Results in a very thin and brittle plastic like layer. mélange, white-pink...... 72 Therefore, highly translucent. Turquoise Wool adds high color contrast whereas Figure 82 single bed, wool – cotton mélange, smaller sized stitch length ...... 73 surface structure is the same thickness...... 68 Figure 83 single bed, cotton – hair, manual hang in, high hair amount ...... 73 Figure 78 Exemplary process of a Double bed Knit-Sample. Hair - Wool Mix. Dubied Figure 84 single bed, wool – hair, manual hang in, wave pattern ...... 73 Machine. Double–bed with hair inlay. Results in a thicker layer than single bed and is Figure 85 double bed, wool – hair inlay, loose stitch length ...... 73 less brittle due to thickness. Loops result in a print optic. Double-bed outcome shows Figure 86 single bed, pure wool white, tight stitch length ...... 73 an optical depth with light due to the visible fore and background of the loops. Figure 87 Upper picture: Overview of exploration regarding flexibility based on Outcome is different from front and backside...... 69 combination of cotton and keratin based materials. Bottom pictures: Hair - Cotton. Figure 79 Comparison of optical pattern impression of a Hair – Wool Sample. Left: Manual insertion of Hair in Cotton. Single bed. After the pressing the Hair gives Double bed; Blond hair as inlay results optical in the background. Loops show a stiffness to the still flexible piece due to the material combination...... 74

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Figure 88 Knit double bed, loose stitch length, cotton (blue) and hair Inlay (stripes, Figure 107 ...... 102 middle blond / blueish), without light ...... 76 Figure 108 ...... 104 Figure 89 Knit double bed, loose stitch length, Cotton (blue) and hair Inlay (stripes, Figure 109 ...... 105 middle blond / blueish), with light from the back ...... 77 Figure 109 ...... 106 Figure 90 Presentation of color and material findings: Properties of the material after Figure 110 ...... 107 the thermo-compression process ...... 84 Figure 112 ...... 118 Figure 91 Presentation of findings regarding the influence of the textile technique in relation to pattern, shape, hair fiber length and light...... 85 Figure 1-8; 19; 26-112 Figures created by author, Romy Franziska Kaiser, 2020 Figure 92 The REUSE contains the resulting material categories highlighting qualities for possible applications. Also, material tests e.g. regarding tensile strength, conducted in the future would be part of this step within the cycle...... 87 Figure 93 ...... 88 Figure 94 ...... 89 Figure 96 ...... 90 Figure 95 ...... 90 Figure 97 ...... 91 Figure 98 ...... 93 Figure 99 ...... 94 Figure 100 ...... 95 Figure 101 ...... 95 Figure 102 ...... 96 Figure 103 ...... 97 Figure 104 ...... 98 Figure 105 ...... 100 Figure 106 ...... 101

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127 ACKNOWLEDGEMENT

HANNA LANDIN For the continuous support, feedback & the sense for incredibly valuable mentoring

MIKAEL SKRIFARS For supervising and guidance from the technical perspective

THE STAFF OF THE PLOLYMER LAB WITH JONAS HANSSON & VILLE SKRIFARS For welcoming me with so much technical support

SARA BJÖRNSTRÖM, EMILIA JENSEN, ULLRIKA NORÈN For all the kind support in the print lab and patience for my special requests

ALL SUPERVISORS AND TUTORS OF THE MA FASHION/TEXTILES For sharing their perspectives

TIMO KELLNER For being the wild card in all matters

ANTONIN MONGIN, SANNE VISSER For sharing their hair related experience with me

ALL FELLOW STUDENTS For providing professional as well as private exchange and amazing moments