Steneby - Institutionen för Konsthantverk och Design / Steneby - School of Craft and Design (-jun 2012)
https://hdl.handle.net/2077/28239
2024-03-28T10:02:12ZWild Things: A Collection of Handwoven Couture
https://hdl.handle.net/2077/69435
Wild Things: A Collection of Handwoven Couture
Recker, Luisa
In this work, a hand-woven fashion collection is designed. The aim is to create clothes that connect us with life and nature and make us feel that we are part of a vibrant surrounding. Following the idea of clothes as a social mean to connect to one’s environment, this work examines several concepts and techniques that already incorporate certain aspects of connectedness and directness. A particular interest lies in how the form of clothes can relate to the way they are made and the tools that are used – with focus on the weaving technique. Historical and cultural sources, as well as contemporary design research are consulted, that show how the form and material of clothing are developed simultaneously instead of separately. Throughout the process of this work, I want to practically explore the following questions: How can the process of making become tangible in the outcome? How can the way of making become a tool for artistic expression? This work aims to find practical answers to these questions in form of woven clothes. Weaving techniques are applied to the design of the garments. Tapestry techniques are used in order to create vertical slits/ openings for body parts. Garment forms are developed by experimenting with rectangular shaping/ block pattern making. The result is a collection of seven unique wearable pieces. They are one-of-a-kind luxury clothes, couture so to speak, made using different materials and woven structures on different types of looms. Last but not least the row of garments represent and show my learning process and adaption to a new way of working, a different way of designing and making clothes.
The following text is the theory part of my practical Master‘s thesis “Wild Things – A Collection of Handwoven Couture”. This thesis examines the potential of hand-weaving for contemporary fashion design. I aim to create “wild” (=valuable and mean¬ingful) clothing that connects the wearer to the environment and vibrant, natural surrounding. In the text I start with a background of my work and position it within the field of fashion design and previous personal work experiences (pages 3 – 10): Here I show the different contents involved in fashion design – the pictorial surface, the form and the material level – and how clothing can be perceived and sensed. The purpose, the goal and the starting questions of the work are formulated, fol¬lowed by an explanation of the practical approach on pages 13 – 14. How can I visualize the fabrication of clothes and make it tangible in the garment? How can the connection to the surrounding and environment become tangible in handwoven clothes? Pages 15 – 20 describe the work process step by step. Starting with the development of my way of working with paper models and weaving explorations I show how my process becomes more free, more interactive in body and shape and virtuoso in the weaving. Decisions, considerations and reflections are displayed. Through utilizing the properties of the loom and different materials my work results in seven clothes – original in form, material and textile structure. This Master‘s pro¬ject was exhibited during May/ June 2021 in the Greenhouse of Trädgardsförenin¬gen Gothenburg. The exhibition set up is shown and explained in the text. In the last part of this thesis, the work will be discussed and reflected (pages 25– 30), ending with a conclusion of the result on page 31. In this part of the text, the activist and political statement of this work is connected to its aesthetics and formal proposi¬tions. The look and touch of the “wild”, deriving from an individual way of making and manufactured production, wants to seduce you to reconsider your values: This work makes materiality and time tangible. It shows how the human energy and abil¬ity for skillful, careful and attentive making with the hands can lead to rich expres¬sions and valuable pieces of clothing.2
2021-08-24T00:00:00ZHarmony, a sense of time difference in urban society
https://hdl.handle.net/2077/67477
Harmony, a sense of time difference in urban society
Erlandsson, Jens
In this text I will describe my work process, which for this project is based on how to use the traditional technique of blacksmithing in an innovative way. I want to help people forget their surroundings for a brief moment and get a sense of harmony, by constructing a decorative panel design from recycled iron and steel, which can be applied to building facades in public space. My goal is to create a peaceful and harmonious look that will reduce the feeling of stress in everyday life.
I denna text kommer jag att beskriva min arbetsprocess, som i detta projekt bygger på hur jag kan använda det traditionella hantverket smide på ett mer nytänkande sätt. Jag vill låta betraktaren glömma sin omgivning för ett kort ögonblick och uppleva en stund av harmoni, genom att utforma en dekorativ panelkonstruktion tillverkad av återvunnet järn och stål, som kan placeras på husfasader och dylikt i det offentliga rummet. Målet är att skapa ett stilla och meditativt uttryck som reducerar känslan av stress i vardagen.
2021-02-01T00:00:00ZEnamelled steel
https://hdl.handle.net/2077/67210
Enamelled steel
Postlmayr, Johannes
This exam project is about a material that developed with the rise of the industrial revolution, became almost obsolete in recent decades, and that I now use in the field of applied art, craft, and design.
Enamelled steel is a material mostly known for its use in domestic kitchenware and colourful road and advertising signs. A compound material, where a thin coat of glass gets fused onto a metallic base material.Through extensive historical research, I learned about makers and scientists across 19th century Europe, who addressed public health issues, like lead-poisoning through improper cooking utensils. Their inventiveness and approach, to solve problems with scientific thoroughness and high-quality craft, informed and inspired me to develop my work further. This project and its physical artwork pay tribute to the early inventors and their experimental methods, as well as to the mass-production manufacturers later, who were able to distribute safe and affordable cooking utensils to the general public.
Slightly interrupted by the outbreak of a global pandemic, this project has a contemporary approach to craft, in combination with digital tools and modern manufacturing processes, but not losing sight of the value of carefully crafted, handmade work.
2021-01-05T00:00:00ZCARVING STEEL
https://hdl.handle.net/2077/66582
CARVING STEEL
Halkosaari, Arttu
This exam project will be a conclusion for a long working process which started a year and a half ago. During this time, I have developed my own way of working with a plasma cutter and use that with different forged forms to create sculptures with varying textures. To me my work talks about
the long learning process and trying to find my own language in the world of art and forging.
The pieces focus on tactility and the experience the viewer gets while they interact with them. The interaction between my work and the viewer is highly touch based, as having these differently
textured sections provide the viewer with more ways of investigating my work than just visual. By using organic shapes, the viewer is given a contrast of shapes and textures between the exterior and
the interior.
My exam pieces are upscaled versions of a set I had made earlier during my third year. This was done to see what would happen to the tactile expression of them as they get bigger and how the viewer changes their way of investigating the objects.
2020-09-25T00:00:00Z