Fit for purpose? Pattern cutting and seams in wearables development
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Fit for purpose? Pattern cutting and seams in wearables development

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Sarah Kettley, Tina Downes, Karen Harrigan, Martha Glazzard

Sarah Kettley, Tina Downes, Karen Harrigan, Martha Glazzard

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  • 1. Fit for purpose? Pattern cutting and seams in wearables development M:College Research A dministration (Owner - MBH)Smart TextilesGapsgapsback (emb).jpg Nottingham Trent University: A collaboration between the School of Architecture, Design and the Built Environment and the School of Art and Design Dr Sarah Kettley, Tina Downes, Karen Harrigan, Martha Glazzard
  • 2. Introduction • Concept of seams in wearables literature – inherited ideal of transparency and disappearance • Materiality of system’s inputs and outputs - concerns of critical wearables practice and interaction design theory (Chalmers et al 2003, Galloway 2004) • Design purpose – functionality at expense of aesthetics? (Hallnas & Redstrom 2006) • Challenge: turn wearables design process upside down – begin with expressive aims rather than functional requirements, exploiting embodied knowledge of other disciplines (Starner 2001)
  • 3. Early experiments with Merlin sensor • Merlin Stretch Sensor uses the latest 'Smart‘ material technology • Stretch Sensor is a flexible cylindrical cord requiring electrical connectors at each end LED • It is designed to conduct electricity when stretched Stretch sensor
  • 4. Early experiments with Merlin sensor Use as a yarn and integrating into knitted channels
  • 5. Early experiments with Merlin sensor Freeform embedding and surface laying onto knitted and woven fabrics
  • 6. The Aeolia Project Two broad strands of investigation: • ‘The backs’ housing the Merlin stretch sensor, driven by aesthetic exploration of materiality of interface and garment form • ‘The Cello Garment’ making use of our own novel knitted stretch sensor, driven by functionality
  • 7. Exploration of lines of stretch and resistance of the body
  • 8. Development of collaborative, practice-based research methodology employing embodied knowledge
  • 9. Garment development – Karen Harrigan Design exploration of stretch and static fabric forms that respond to lines of stretch and resistance on the body
  • 10. Embroidery development – Tina Downes The stretch sensor was integrated into panels of the garment through a twin- needling technique that imitated muscle lines on the body. Additional stretch sensor lines were couched on top of the seam lines
  • 11. Knit Development – Martha Glazzard The initial ‘pattern’ was scanned in and translated into a one-piece knitted panel with varying knitted structures in different areas of the panel.
  • 12. Weave development – Dr Nigel Marshall The initial ‘pattern’ was scanned in and translated into a one-piece woven panel with varying weave structures in different areas of the panel. It took ten trial runs to scale the weave structures to fit the body form
  • 13. The three backs with Merlin sensor inserted into channels Exhibited Edinburgh, Dundee, London, Milan
  • 14. Detail of final garments – knit , weave, embroidery
  • 15. Development of knitted stretch sensors
  • 16. Cello garment prototype
  • 17. Cryptic Nights, CCA , Glasgow 7/7/09 Performance of stretch sensor with cellist Peter Gregson. Resistance variation in knit sensor used to alter MIDI output. Sound artist Yann Seznec developed ‘MAX MSP patch’ to enable audio distortion. http://www.sarahkettleydesign.co.uk/CCA_event_July_09/aeolia.html
  • 18. New directions....
  • 19. The three backs - Exploration of movement
  • 20. Textile approaches
  • 21. Pattern cutting informing new conceptual directions
  • 22. Knitting the gaps
  • 23. Manipulating the seams
  • 24. Manipulating the seams
  • 25. Summary of new directions • Further development of fabric stretch sensors using knit, weave or embroidery processes • Hybrid of textile processes to exploit differences in flexibility of different textile structures to control movement • Exploration of potential of seams and gaps between pattern pieces to bring functionality and aesthetics together • Explore concepts of seamfullness and seamlessness in user experience
  • 26. References • Braddock Clarke, S. & O’Mahony, M. (2002). Sports Tech – Revolutionary Fabrics, Fashion and Design. London: Thames and Hudson. • Braddock Clarke, S. & O’Mahony, M, (2006). Techno Textile 2 – Revolutionary fabrics for fashion and design. New York: Thames and Hudson. • Chalmers, M., MacColl, I. & Bell, M. (2003) Seamful Design: Showing the Seams in Wearable Computing. In the Proceedings of IEE Eurowearable 2003, 4th-5th September 2003, University of Birmingham. pp. 11-17. London: IEE. • Downes, T, Harrigan, H. (2009). Lines of Resistance: A collaborative approach to integrating stretch sensor technology into garment form. In: Futurescan: Mapping the Territory. Foresight Centre, University of Liverpool, 17&18 November 2009. FTC, Nottingham Trent University, in press.
  • 27. References • Galloway, A. (2004). Fashion Sensing / Fashioning Sense: A conversation about aesthetics with International Fashion Machines' Maggie Orth. HorizonZero Issue 16, August 2004. • Glazzard, M. & Kettley, S. (2010). Knitted Stretch Sensors for Sound Ouput. Extended abstract, Proceedings 4th International Conference on Tangible, Embedded & Embodied Interactions, MIT, Boston CA. January 2010. • Hallnäs, L. & Redström, J. (2006). Interaction Design: Foundations, Experiments. Textile Research Centre, Swedish School of Textiles, Unversity College of Borås and Interactive Institute.
  • 28. References • Kettley, S. & Briggs-Goode, A. (2010). Textile Enquiry and Design: Aeolia. Duck Journal for Textile Research and Textile Design. Loughborough University, in press. • Shulman, A. (2009). Http://vogue.co.uk/fashion/show.aspx/catwalk (accessed 16.2.10). • Starner, T. (2001). The Challenges of Wearable Computing: Part 2. IEEE Micro. Vol.21, No.4, July - August 2001, pp54-67. • Weiser, M. (1994). The World is not a Desktop. interactions; January 1994.