Open to change

Slowing down to explore and innovate.

Research output: Chapter in Book/Report/Conference proceedingConference contribution

Abstract

A specific type of knowing comes from the handling of materials in the handcrafting of an artefact.
This research looks at the relationship between the handcraft of weaving, and the decision-making process and knowledge of the textile designer. It investigates the potential for new design opportunities to be opened up for the commercial designer by moving out of the studio and back into the workshop environment. As an educator, manager and formerly a designer trained in textile design, this research explores an established industrial production method of weaving but revisited using a craft-like approach.

Slowing down the creative process to engage with the materials themselves, this paper starts to explore the potential of hand woven leno structures to be used within the landscape and to explore the process of change in response to environmental factors. Architect Philip Beesleys’ work seeks to achieve a balance with nature, submitting itself to the natural cycles and inevitable decay, in which he deliberately designs mesh structures with weak and fragile links, whose materials soak up environmental forces. This paper starts to further explore the value of haptic intelligence and empathy for materials, also adopted by Beesley in his Haystack Veil (1997) and later Holozoic series. The process of creating leno structures on a handloom, has resulted in outcomes difficult to predict using digital software, confirming weaving as an emergent system (Philpott, 2011), where disparate threads are combined into dynamic structures.

There is a delicate relationship between textiles and the landscape, in response to which the designer of performance fabrics is required to create, indestructible solutions, with a lifetime guarantee. By embracing the science of uncertainty, fresh ideas and new solutions have the potential to be created.
Original languageEnglish
Title of host publicationFuturescan 3
Subtitle of host publicationIntersecting Identities
EditorsHelena Britt, Laura Morgan, Kerry Walton
PublisherFTC: Association of Fashion and Textiles
Pages215-221
Number of pages7
ISBN (Print)9781911217084
Publication statusPublished - Oct 2016
EventFuturescan 3: Intersecting Identities - The Glasgow School of Art, Glasgow, United Kingdom
Duration: 11 Nov 201512 Nov 2015
http://www.ftc-online.org.uk/research/futurescan-3/programme/ (Link to Conference Programme)

Conference

ConferenceFuturescan 3
CountryUnited Kingdom
CityGlasgow
Period11/11/1512/11/15
Internet address

Fingerprint

Designer
Handcraft
Haptics
Educators
Software
Creative Process
Uncertainty
Textile Design
Empathy
Textile Designer
Veil
Decision-making Process
Managers
Processes of Change
Decay
Artifact
Nature

Cite this

Redmore, N. (2016). Open to change: Slowing down to explore and innovate. In H. Britt, L. Morgan, & K. Walton (Eds.), Futurescan 3: Intersecting Identities (pp. 215-221). FTC: Association of Fashion and Textiles.
Redmore, Nicola. / Open to change : Slowing down to explore and innovate. Futurescan 3: Intersecting Identities. editor / Helena Britt ; Laura Morgan ; Kerry Walton. FTC: Association of Fashion and Textiles, 2016. pp. 215-221
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Redmore, N 2016, Open to change: Slowing down to explore and innovate. in H Britt, L Morgan & K Walton (eds), Futurescan 3: Intersecting Identities. FTC: Association of Fashion and Textiles, pp. 215-221, Futurescan 3, Glasgow, United Kingdom, 11/11/15.

Open to change : Slowing down to explore and innovate. / Redmore, Nicola.

Futurescan 3: Intersecting Identities. ed. / Helena Britt; Laura Morgan; Kerry Walton. FTC: Association of Fashion and Textiles, 2016. p. 215-221.

Research output: Chapter in Book/Report/Conference proceedingConference contribution

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T2 - Slowing down to explore and innovate.

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N2 - A specific type of knowing comes from the handling of materials in the handcrafting of an artefact. This research looks at the relationship between the handcraft of weaving, and the decision-making process and knowledge of the textile designer. It investigates the potential for new design opportunities to be opened up for the commercial designer by moving out of the studio and back into the workshop environment. As an educator, manager and formerly a designer trained in textile design, this research explores an established industrial production method of weaving but revisited using a craft-like approach. Slowing down the creative process to engage with the materials themselves, this paper starts to explore the potential of hand woven leno structures to be used within the landscape and to explore the process of change in response to environmental factors. Architect Philip Beesleys’ work seeks to achieve a balance with nature, submitting itself to the natural cycles and inevitable decay, in which he deliberately designs mesh structures with weak and fragile links, whose materials soak up environmental forces. This paper starts to further explore the value of haptic intelligence and empathy for materials, also adopted by Beesley in his Haystack Veil (1997) and later Holozoic series. The process of creating leno structures on a handloom, has resulted in outcomes difficult to predict using digital software, confirming weaving as an emergent system (Philpott, 2011), where disparate threads are combined into dynamic structures. There is a delicate relationship between textiles and the landscape, in response to which the designer of performance fabrics is required to create, indestructible solutions, with a lifetime guarantee. By embracing the science of uncertainty, fresh ideas and new solutions have the potential to be created.

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UR - http://www.ftc-online.org.uk/publications/conference/

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M3 - Conference contribution

SN - 9781911217084

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BT - Futurescan 3

A2 - Britt, Helena

A2 - Morgan, Laura

A2 - Walton, Kerry

PB - FTC: Association of Fashion and Textiles

ER -

Redmore N. Open to change: Slowing down to explore and innovate. In Britt H, Morgan L, Walton K, editors, Futurescan 3: Intersecting Identities. FTC: Association of Fashion and Textiles. 2016. p. 215-221