Reflection on Action:

Reflecting on studio practice (woven samples):

As said in the previous post, when I first started weaving the samples I had no plan of a specific weaving structure. Without a scheme I began to use the yarns in different combinations. I would like to use an holistic approach, trying not to think about all the single components (fibers and yarn in this case) that together make the fabric but considering it as a whole. In fact, when we “experience” a fabric touching it, we regard it as a single piece and we do not focus on the fact that it is a mixture of different components woven together.

The reason why I wanted to experience this kind of “free” weaving is because I wanted to find inspiration directly from the fibers. My whole research hovers around the haptic/tactile sensations of fabrics so I started thinking that those feelings could not be framed in a settled and defined pattern but had to come from my heart.

Being guided only by the sensory (and visual) evaluation I created my first few samples.

Juxtaposing raw silk and hemp for instance, I created some simple textile with a satisfying hand (at least from my point of view). I also wanted to incorporate in that plain samples some outgrowths parts and for the purpose I used a bunch of wool fiber that I collected from the mill visit in Bradford. Those outgrowing components certainly collide with the more rough materials but in a sense they also contribute to balance the visual/sensory evaluation.

As Harkasalmi T. and Koskinen I. wrote in the research paper about linseed fibers ( Harkasalmi, T., Koskinen I. 2010) it is impossible to quantify the emotions and sensations that arise when we experience a raw material with a single physical property as the comfort sensation has a multidimensional attributes. In the same paper, they also agree that In most cases it’s the fabric handle that persuade the costumer to buy a product.

As I’m convinced that no one will ever buy a cloth or an accessories only for its roughness, I need to find a way to blend raw/rough yarns and soft ones together. My studio research is now characterized by this sense of balance that I must develop further.

References list:

Harkasalmi, T., Koskinen I. (2010) DUCK: Journal for research in Textile and Textile Design vol.1, What is Textile Design Research?: Multi and Interdisciplinary Nature of Textile Design Research of Linseed Fibers [Online, pdf version] Available from:
http://www.lboro.ac.uk/microsites/sota/duck/4.%20Multi%20and%20Interdisciplinary%20Nature%20of%20Textile%20Design%20Research%20of%20Linseed%20Fibres%20-%20Tiina%20Härkäsalmi%20and%20Ilpo%20Koskinen.pdf [Accessed 15 November 2015].

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