Ba (hons) Textile Design 2021

TEXTILE DESIGN 2021

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Textiles are all around us, from the clothing we wear, the furniture we sit on, the transportation we use and throughout the pandemic the face masks we wear.

The work presented here is the culmination of three years of study in one of four textile disciplines: Print, Mixed Media, Weave or Knit.

With support from academic staff and our

experienced technical team, students have had the opportunity to develop a broad range of skills throughout their studies. They have developed strong aesthetic design skills and a great deal of technical expertise in their chosen specialism. This, alongside the digital design and communication skills they have gained, will prepare them for diverse roles as designers for fashion or interior textiles, as studio or freelance designers, designer makers, as well as careers in education.

Textiles has a long heritage at De Montfort University Leicester (DMU), this year will certainly be remembered as one of lockdowns, online teaching, social distanced studios and workshops. The students and staff have demonstrated extraordinary resilience and this is shown in the work that has been produced.

The course focusses on creative innovation, responsible design, digital and technical expertise. Students graduate with a comprehensive understanding of contemporary textile design practices, ensuring that graduates have the knowledge and skills that are required for a global market. This year students have continued to win awards and have taken part in national and international competitions such as The Bradford Textile Society competition, I-Dott wallcoverings award, The Worshipful Company of Dyers award, Fashanne 2021 and New Designers awards.

This has been the most challenging of years and we celebrate the achievements of our students developing amazing design conclusions whist navigating through a global pandemic.

The resilience and inventiveness they have shown will ensure they are prepared to embrace the exciting challenges that await them as graduates.

Programme Leader: Nick Rodgers nicholas.rodgers@dmu.ac.uk dmu.ac.uk/textiledesign

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GABRIELLA HUCK PRINTED TEXTILES I have a hands-on problem-solving approach to my design practice. Studying abroad in Helsinki, Finland, with DMU’s Erasmus+ international exchange programme was an experience that opened my eyes to designing not just for decoration, but for a ‘decorative solution’. As such, I was delighted to have won the DMU Roadley Award for supporting innovation in sustainability. Identifying a problem and combining that with my love of drawing, painting and textiles is what motivates me to make playful and innovative designs. My work has a relaxed aesthetic, throughout my degree I have experimented with colour, hand-drawing and other print techniques to develop my unique ‘handwriting’, which offers a fresh take on classic textile design.

E: gabriellahuck@gmail.com W: gabriellahuck.com gabriellahuck

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HELLI PATEL PRINTED TEXTILES I am Helli, a textile designer specialising in print design for home interiors and wallpaper. I have always adored making patterns – the vibrancy, colours, and imagination of pattern designs have always inspired me. At the heart of my work is the love of nature, especially flowers, a love of watercolour patterns and the desire to bring the beauty of the outside world into interior spaces through realistic watercolour paintings and botanical illustrations. I am inspired by botanical paintings and 17th and 18th century Dutch paintings. I have built up a wide range of skills, including screen printing and fabric dyeing, but in particular digital printing. Through attention to detail, I am able to translate the detail of my paintings into designs using CAD software including Adobe Photoshop and Illustrator.

E: helli.patel1609@yahoo.com by.helli _

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SHONA ROBERTS PRINTED TEXTILES My collection focuses on abstraction and geometric shapes, taking this style forward from a long-standing interest in designing and creating a graphic finish. A lot of inspiration for my final project has included robotics and machinery, leading on from the restrictive movement shown throughout the art form of Dada ballet, incorporating line and distortion to show a lack of free-flowing movement within a range of printed design solutions. I use a monochrome colour palette with a burst of colour to reflect subtle changes inspired by modern dance, from the totally static to constricted.

E: shona-roberts1@hotmail.com shona_textiles

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MEGAN CHARLES PRINTED TEXTILES As a textile designer specialising in printed textiles, my interests are in interiors, particularly creating designs for wallpapers and soft furnishings. Throughout my degree at DMU I have been given many opportunities to experiment with a lot of different techniques, styles of design, take part in competitions and learn the theoretical basis of textile design. My inspiration for creating drawn imagery usually comes from places I have visited from my walks with my dog. I have developed a love for creating my work digitally using Procreate and Adobe software, happily experimenting with what can happen with just a click of the button.

E: meganbrooke@live.co.uk W: meganbrooke0.wixsite.com/megancharlesdesign megancharlesdesign

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ISABELLA ELLEN OATES PRINTED TEXTILES I am a printed textiles designer inspired by travel, surface pattern and sustainability.

I particularly enjoy using handcrafted collage within my work, as it enables me to produce exciting ideas incorporating sustainable practices such as upcycling to reduce waste. This includes creating new sheets of paper from all of my paper leftovers and reusing them within my collection as new textured sheets. I am open-minded about my future within the textile industry, but am particularly interested in setting up my own bespoke stationery brand.

E: issieoatestextiles@gmail.com issieoatestextiles

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CHLOE VICTORIA JOHNSON PRINTED TEXTILES My final major project collection ‘Reconnecting with Nature’ has been developed and designed for an interior end use, from wallpapers and soft furnishings to display prints. As a designer originally based in Derbyshire, my work is largely inspired by nature and botanicals. My collection exclusively features graphic motifs which are then supported by other nature-based markings. As a designer I aim to portray a calming and relaxing aura, with muted tonal colours and a pleasing, balanced mixture of delicate and bold motifs.

E: chloevjohnson16@yahoo.com W: cjtextiledesign.wixsite.com/website _cj.designs

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LAURA PILKINGTON PRINTED TEXTILES I am a motivated and versatile printed textile designer, with a passion for abstract geometrics and exciting colour. My final project, ‘Collage Collision’, is a contemporary gift wrap and lifestyle accessories collection inspired by Brutalist architecture and multi-functional textiles. The aim was to create pattern-filled textiles for gifting, that can be reused or upcycled, making them applicable across markets.

During my time at DMU, I have gained valuable creative and theoretical knowledge to enhance my potential. I am now accomplished at using Adobe software, with the ability to render drawings, produce modern colourways, and prepare work for digital printing.

My designs are pattern-focused with a collaged, handcrafted aesthetic. I create textiles with longevity, to contribute toward circular textile consumption by designing innovative, forward-thinking print collections.

E: laurastextilesuk@gmail.com laurastextiles laura-pilkington

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AMELIA ROSE AIREY PRINTED TEXTILES An evergreen plant, bush, or tree has leaves for the whole year. I have always been fascinated by the variety, intricacy and beauty of plants around us and wanted to explore the idea of using this theme in my final collection. By using foliage, in particular, I could take delicate natural shapes and build them up in various ways for use in many areas of design. Over winter and spring I took extensive photographs of a variety of evergreen plants. This time of year allowed me to see these plants with their berries. I took time identifying the plants most commonly seen in parks and gardens, as I considered that using observed pencil drawings in my final digital designs would potentially have an air of familiarity to the end user. My final collection is a range of surface designs for notebooks, paper, envelopes, and water bottles.

E: ameliarosedesigns1@gmail.com W: ameliarosedesigns1.com ameliarosedesigns1

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HANNAH MACCAIG PRINTED TEXTILES My design collections are largely inspired by nature, with florals featuring heavily within my work. Hand-drawing and painting has aided the development of my detailed design style and is a starting point from which designs are developed. My Final Major Project, Natural Rewilding, was inspired by the conservation concept ‘Rewilding’, where the emphasis is on humans stepping back and leaving an area to nature. As UK lockdowns have naturally resulted in reduced human interventions with nature, an exploration into resulting increased biodiversity inspired imagery of English flowers and wildlife.

Interior designers such as Liberty London, Timorous Beasties, and House of Hackney.

Provided inspiration for the high-end interior market, while artists, botanical artists, and illustrators provided style inspiration for drawing and painting. The design collection of wallpapers and fabrics for interiors highlights the importance of environmental restoration. Specialising in printed textiles has furthered my knowledge of dye and print processes and I tend to use a variety of digital and screen print techniques within collections. Wallpapers and fabrics are designed for an interior context, as this is an area I have a strong interest in and where I can see myself working in the future.

E: hannahmaccaig.design@outlook.com hannahmaccaig_design

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LEAH SHARP WEAVE I enjoy designing my weaves with a societal and wellbeing context, which is why I have decided to create fabrics for people who are visually impaired. To begin with, I chose a hands-on approach with photographing textured surfaces. I then researched into my chosen target market by finding out about visual impairments, to assess the needs which my designs could support. I have used a broad range of textured yarns for my Weft to create fabrics designed to be felt rather than looked at. I used monofilament for my main warp yarn and wool for my extra warp.

This has helped me to create squares which light can shine through in various amounts to demonstrate different levels of visual impairment using contrast.

E: leahgs@hotmail.co.uk sharp.textiles

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PHOEBE ROSE CONWAY WEAVE I am a vibrant, enthusiastic, and creative individual which I believe is shown throughout my designs. My woven design collection is inspired by my passion for the automotive industry. This topic led to wider research of transport upholstery and technical textiles, which has really opened my eyes to career options. I have taken inspiration from various museums, camper van shows and car dealerships as well as designers such as Wallace Sewell and Margo Selby to reach my final outcomes.

E: phoeberosec@icloud.com W: phoeberosedesigns.wordpress.com phoeberosedesigns

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MARY DAVIDSON WEAVE I am a confident, versatile, and fluid designer, specialising in weave. With my ability to manipulate shapes and motifs to create geometric-based collections, I offer a lens through which to view the beauty in the ordinary. My influences range from construction materials to toys and have inspired contemporary designs suitable for interiors. I have an intuitive sense of colour with the ability to easily juxtapose bright and pastel colours in a cohesive palette that suits the desired aesthetic and end use. As a designer with an awareness of sustainability, I like to create designs that add to people’s lives to form a personal connection, giving meaning and longevity to the product.

E: marydavidsondesigns@yahoo.com marydavidsondesigns MaryDavidson

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JORDYN WOOD KNIT Tectonic Boundaries is an S/S womenswear collection, which is inspired by the Earth’s crust.

My collection focuses on the textures, surface qualities, and colour preserved within ancient rocks and minerals. The aim of this project involves pushing the boundaries for an ethical and sustainable future. Each design is carefully constructed to maximise a garment’s life and considers the use of sustainable yarns. The project consists of a knit collection that works harmoniously with a relaxing, unique colour palette. While working on this project I have explored patterns by demonstrating my knowledge through mark-making, developing these further by using a diverse range of media including digital development. When designing I am confident with knitting and creating intricate textural designs.

E: jnwbespokedesigns@gmail.com W: jnwbespokedesigns.wordpress.com jnw_bespoke_designs

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EMILY JANE ASTLE WEAVE I am inspired by my love for architecture and nature, mixing these together to create my designs. I am a huge believer that inspiration is found all around us and therefore I let my everyday life influence my ideas. I am driven through the love of woven practice, focusing my work on experimenting with warp set-ups to create variety within my collections. I am a passionate, determined, and motivated designer, who is excited to learn new techniques and build on the creative knowledge and skills that I have gained at DMU.

E: emilyjanedesign159@gmail.com emily_jane_design

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LOIS COX KNIT I am a knitwear designer and nature provides a big inspiration for my work. My primary emphasis focuses on textures from a variety of surfaces, ranging from metals to nature. I have always had a passion for textiles and fashion since I was young, and I love to experiment and be open-minded about the materials I use. DMU has given me many opportunities to learn and experiment with a vast number of techniques, as well as taught me about the theoretical side of textiles. My ultimate goal is to be a sustainable designer using eco-friendly yarns, as well as reusing and recycling. I always strive to deliver and combine high-quality materials with low-environmental impact, such as the use of lambswool and mohair. I was able to secure a really enjoyable internship with award-winning interior design company Lark Interiors.

E: loiscox5@hotmail.co.uk W: loiscoxdesign.wordpress.com loiscox_design

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CONNIE PERCIVAL MIXED MEDIA TEXTILES As a textile designer, I specialise in mixed media, with my strength being embellishment.

I love to experiment with unusual techniques, combining them with stitch and digital embroidery, pushing my ideas to their limits and being experimental with the types of media I use. Colour is of huge importance to me, and it is an aspect I investigate throughout my projects.

Throughout my Final Major Project, I have been investigating ‘impressions’ of florals and how they leave a delicate mark behind. This has inspired me to experiment with plaster and ceramics, and how patterns can translate into fabric designs using mixed media, creating a whole new dimension to my work for high-end fashion.

E: conniepercival@ntlworld.com conniejptextiles 19

NATALEE O’REILLY MIXED MEDIA TEXTILES I am a passionate textile design student with a diverse range of skills. My specialism is mixed media and embroidery. My work predominantly focuses on texture and therefore looks unique and original. As a child I loved feeling different types of fabric on clothes and love to carry that through my work in the hope that people will be tempted to feel the design pieces. This is why for my Final Major Project I chose the theme “mushrooms were the roses of that garden in that unseen world” (fungus and moss). I knew I would be able to focus on the different textures. Most of my work does involve being 3D, which is why it is fashion-based. The research for this required me to not only look into the different types of fungus but also at fashion collections and even films. This was to get more inspiration, as I would look at the different scene and the costumes that would relate to my topic.

My work is very detailed. I have an eye for mixing the right colours together to attract people’s attentions. It allowed me to experiment and investigate to add more knowledge to my techniques. I am independent when thinking of designs to create, which means I am able to conduct my own collections which are relevant for the brief or target market. I’m self-motivated to produce high-end designs and love selecting the appropriate fabric to do so. Hand-stitched embroidery is my passion as I feel it is my strong point and I am able to get very detailed yet delicate design outcomes.

E: nataleeoreilly99@gmail.com nataleetextiledesign

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EVE MOISSIARD MIXED MEDIA TEXTILES As a textile design student specialising in mixed media, my work is motivated by exploring different processes and texture combinations. I develop my designs with volume as a fabric sculpture, with my goal being to reach the limit of possibilities thanks to left field concepts and bespoke techniques. My inspiration comes from art history and observation of nature.

The influence of the fashion haute couture is central for each project. In the future I want to work in the fashion industry and build on the experience I gained during my internship with fashion designer Christina Seewald in Vienna from July to September 2020 and with the textile designer Jenny King Embroidery in Brighton from May to July 2021.

E: eve.moissiard@gmail.com evemoissiard.textile

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GEORGIA REEVE MIXED MEDIA TEXTILES I am a textile designer who specialises in mixed media textiles, with a particular interest in home accessories. This design collection followed the concept of ‘Rural Escape’, capturing the more rustic, wild side of nature typically found in the countryside. Hand embroidery is a key strength of mine, which is shown across my work in various forms, building upon the surface and creating different levels of texture.

I am hoping to move further with my textile ambitions and achieve a role within a home accessories company, developing designs for showpiece products such as cushions, with a keen eye on trends and colour.

E: georgia_reeve@sky.com W: georgiareeve9.wixsite.com/designwebsite georgiareeve.design

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STEPHANIE CROSS MIXED MEDIA TEXTILES Specialising in mixed media textiles, my work primarily features different varieties of stitch, including digital, machine and hand embroidery. Inspired by couture and luxury fashion, this is used in combination with intricate hand embellishment to create 3D, textural designs. Sustainability is very important to me and therefore significantly influences my design practice. Receiving a DMU Roadley Award for supporting innovation in sustainability allowed me to develop my knowledge of sustainable techniques, such as natural dyeing. The materials that I use are sourced with sustainability in mind – dead stock, recycled fabrics and sustainable sequins are all utilised within my work and formed the basis of my final collection ‘Tranquil Woodland’. It explored how the Covid-19 pandemic affected our mental health and how this caused many people to spend more time outdoors, which led to the underrated beauty of nature being rediscovered. These sustainable techniques follow on from my DMU Enterprise Placement Year, when I set up a sustainable homeware business, using recycled materials to design and make contemporary cushions.

E: stephcross.txdn@gmail.com stephcross_textiles 23

ALICE STOKES-EADIE MIXED MEDIA TEXTILES Pushing the boundaries of traditional embroidery practices and working in innovative ways is what motivates me as a designer. I aim to create textiles that capture attention. As such, the maximalism movement has played a huge part in the way I design and the outcomes I create. My design style is synonymous with bold colours and patterns and the idea of excess. Inspiration for my designs comes from several different sources including designers such as Gucci and Marc Jacobs, abstract artists of the 1950s and 1960s, knitwear designers, and other innovative mixed media designers.

E: alice.se99@googlemail.com alice.sedesign

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WIKTORIA GORCZYNSKA MIXED MEDIA TEXTILES As a textile designer specialising in mixed media, with a particular interest in haute couture, my work is highly influenced by detailed and delicate, high fashion runway looks. Inspired by historic paintings and flora and fauna that has been preserved, my collection ‘Frozen in Time’ is based on the many ethereal paintings of women and flower paintings from the 17th century. This inspiration helped me create this S/S 2022 womenswear collection of delicate beauty. I recreated the subtle details from my inspiration using a combination of embellishment techniques and textures, as well as different embroidery techniques.

E: gorczynskaw@yahoo.com _w.g.designs_

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SHIVANI GANATRA MIXED MEDIA TEXTILES I am a textile design student specialising in mixed media as I gravitate towards slower, more meticulous methods of working, such as hand beading and embroidery. I am also skilled in processes such as digital embroidery, building on my DMU Art and Foundation Diploma prize for best use of digital arts. My fondness for textiles is derived from my affinity for colours, textures, and compositions. While I loved designing for interiors throughout my degree, I flourished in working for fashion briefs, in particular high-end couture fashion.

My inspiration comes from designers such as Elie Saab, Georges Hobeika and Zuhair Murad. My feminine, whimsical style is a key component of my design identity.

E: shivaniganatra@live.com shivanis_textiles

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RHIANNE KARAS MIXED MEDIA TEXTILES My final collection, Romantic Decadence, is based on a muse, a young woman from the Regency era (1810-1830). Inspired by history, the Netflix television series Bridgerton and other contemporary sources.

I have used my interest in photography to create floral backgrounds, on which I have used hand embroidery, machine stitch and digital embroidery intended for high fashion womenswear.

E: rhiannekaras4@hotmail.com rhianne.karastextiles

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LAUREN BENTLEY MIXED MEDIA TEXTILES This work is the relationship between art, graffiti and mental health and how art can be used as a form of therapy to help improve mental health. Mental health is an important issue to me as a designer and, like many others I like spreading awareness of this subject. In my final collection ‘Urban Positivity’ I developed the concept, seeing graffiti as art and something positive, instead of it being seen as vandalism. The idea being that this could help improve people’s mental health by seeing bright colours and positive affirmations such as love, beauty, strength and bravery, seen in my local city. I decided to design for interiors, as so many people have been spending time at home in the past year and could benefit from bright colourful accessories (such as curtains and cushions or even tea towels and posters) and even local billboard designs that create happiness.

I am a huge lover of interior design, therefore I focus mainly on designing for interiors or lifestyle because I want to see my designs in people’s homes being used and loved and then being remade into something else. I’ve been designing and making textiles and other crafts since I was young and grew up in an artistic family which inspired me to pursue a career in textiles.

E: lbtextiledesign@gmail.com W: linktr.ee/SimplySweetStitches simply_sweet_stitches laurenbentley

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ZOE HUNT MIXED MEDIA TEXTILES Translating natural forms into creative textiles is the foundation of my personal design style. The incorporation of sustainable practice and ethical sourcing of materials is of significant importance to me and is the reason behind receiving the DMU Roadley Award for supporting innovation in sustainability for my Final Major Project. This project explores nature as a source of hope, taking inspiration from Charlotte Brontë’s poem, Life, as well as other elements that symbolise hope. My core passion resides in detailed beading work, combining 3D aspects with various hand embroidery and fabric manipulation techniques.

My final collection highlights these, along with other techniques that I have developed, such as digital embroidery, and reinforces my design identity. This follows on from my DMU Enterprise Placement Year, when I set up a sustainable homeware business, using recycled materials to design and make contemporary cushions.

E: zoehunt10@btinternet.com zoehunt.textiles

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BETHANY EDGAR MIXED MEDIA TEXTILES Innovation and material exploration are both key factors that influence my design practice.

The idea of creating couture fashion fabrics that incorporate sustainable materials, fabric manipulation and digital embroidery really appeal to my design style and support the work for which I received a DMU Roadley Award for supporting innovation in sustainability. Hand embellishment and technical skill development are also areas I love to develop and explore in my design practice, focusing on intricate bead and gold work. My final collection showcases many of the techniques I have developed as a designer and captures my personal design style.

E: beth.edgar6@icloud.com bethanyedgar.textiledesign

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REBECCA HUGHES MIXED MEDIA TEXTILES I am a textile designer specialising in mixed media textiles. The basis of my design identity is a love for geometric design and repeat. I aim to show an appreciation of architectural forms throughout my work.

My Final Major Project was influenced by Brutalist architecture, where one of my aspirations was to bring pops of colour to the ordinarily dull and lifeless concrete features of this style of architecture. The mixture of texture and a strong use of geometrics reflect Brutalist imagery. Exploring new and innovative ways of creating 3D forms for fashion purposes is something that really interests me and directs my practice.

E: beccahughestextiles@gmail.com beccahughestextiles

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LAURA SPENCE MIXED MEDIA TEXTILES Across collections the main design influences commonly emerge from nature and florals.

My speciality is within mixed media, with knowledge of both hand and digital embroidery techniques. My design style is typically detailed embellished pieces, with the end target market being high-end fashion. I have developed an interest in bridalwear and often take inspiration from it. An aspiration of mine is to eventually run my own business or work as a studio designer within the bridalwear sector.

E: laurasarah.textilesdesign@gmail.com laurasarah.textilesdesign

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LUCY TAGG MIXED MEDIA TEXTILES Specialising in mixed media textile design, my working practice is often heavily influenced by concepts of old traditional settings and narratives. Aiming to capture the charm and bleak beauty of English landscapes and industries through tangible and experimental outcomes. ‘Back of Beyond’ is a body of work created as a love letter for home. The title means a remote place and represents the concept of rural living, old working farms and the harsh, rugged landscapes of the Staffordshire Moorlands and Peak District. Neutral colours and fabrics direct the textile studies using stitched textural embellishments and rust dyeing throughout the project.

E: lucy.tagg08@gmail.com lucy_tagg_design

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ROSHNI PATEL MIXED MEDIA TEXTILES I specialise in mixed media textiles for interiors using processes such as machine embroidery, fabric manipulation and embellishment. My collections are designed in an elegant and luxury style for high-end interior markets.

Having been limited recently on face-to-face contact indoors, nature has become a big element within people’s lives, and so my exploration of microscopic elements and natural textures is the inspiration behind my final collection ‘Beautiful Biofabrication’. It is particularly colour-focused, choosing a cohesive colour palette with navy blues and pink tones highlighting the contrast of warmth and cold of the outside. The underpinning idea was to create something glamourous yet sophisticated using varied mixed media techniques.

E: roshnitextiledesign@gmail.com roshni.textiles linkedin.com/in/roshni-patel-textiles W: artsthread.com/profile/roshnipatel

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AMY TUCKER MIXED MEDIA TEXTILES I am a textile designer specialising in mixed media, with a focus on surface and texture. My work incorporates embellishment with surface and fabric manipulation. This enables me to create intricacy and detail within my designs. I always find inspiration from my surroundings, particularly through nature.

E: amystextiledesign@gmail.com amystextiledesign_

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SUSANNAH TULLY DISSERTATION ROUTE ABSTRACT THE IMPACT OF USED CLOTHING TRADE IN AFRICA AND THE BENEFITS OF LOCAL TEXTILES PRODUCTION LOOKING AT THE CASE OF RWANDA Second-hand clothing (SHC) going to Africa appears on the surface to benefit both the Western countries exporting SHC, because it is a sustainable way of disposing of clothes, and the African countries importing SHC, because it provides Africans with cheap clothing. The long-term impact of SHC in Africa is not beneficial for the environment, the dignity of African people or the textiles and clothing (T&C) industry. The people pointing out the negative impact of SHC in Africa are Africans on the continent working in business, the T&C industry and policy makers. Consequently, some African countries have banned SHC imports. Rwanda introduced a ban in 2019 which is particularly topical, because there was pressure from the US for them to continue importing SHC. One of the motivations behind Rwanda’s SHC imports ban was to help their local T&C industry. Local production of T&C can have many benefits for a developing country in Africa: it helps the economy by creating jobs and businesses, it reduces trade deficits by reducing imports and moving towards exportation, and it helps preserve African craft and traditions as the country develops. The Made in Rwanda (MIR) Policy is a strong example of a country supporting and prioritising local T&C businesses in order to achieve these benefits.

Primary research interviewing designers with businesses in East Africa supported these findings. Many new considerations emerged from the designers’ experiences of working in the T&C industry in East Africa. These helped to build a more accurate picture of the situation in Rwanda and Kenya.

This report found that while SHC imports are harmful, local production of T&C can have a positive impact economically, socially and culturally. Furthermore, Rwanda’s two policies have been effective and other African countries would benefit from similar policies.

T: 07729222654 E: sjftully@gmail.com sjftextiles

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DISSERTATION ROUTE

NATASHA JEAN WARD DISSERTATION ROUTE I believe in using our platform as creatives to make the world a better place, not just for the few but for the many. My work is not confined to one particular specialism but rather what feels most natural. This is why I chose to research and write a dissertation on a subject that was inspired by democracy. Democracy for quality, democracy for affordability, democracy for accessibility, democracy for our environment. Be the change you wish to see in the world. You can do anything, you need only put your mind to it.

ABSTRACT FAST FASHION AND CONTEMPORARY CONSUMPTION: DEVELOPING A SUSTAINABLE INDUSTRY Fast fashion has been celebrated as the ‘democratisation’ of what was once a very exclusive and autocratic industry. However, the increased rate of demand and conspicuous consumption over the past 100 years has led to severe environmental impact and human health risks.

This dissertation investigates how societal pressure, combined with the low cost and convenience of fast fashion, drives its conspicuous demand and consumption. It addresses the similarities and differences between fast fashion and fast-food. Fast-food being an industry that although functions using the same economic business model fundamentals, is much more sustainably successful.

A qualitative data collection approach allowed for a detailed analysis of several industry experts’ experiences. These revealed findings from which one can infer that in order to tackle the industry’s current environmental and ethical injustices, they must rely on considered and innovative approaches to production and mandatory levels of brand transparency, supported by legislation and stricter regulatory bodies.

A garment labelling scheme, inspired by nutritional smart labels, is presented as a strategy that could potentially facilitate fast fashion’s transition into a more sustainable enterprise by addressing issues such as greenwashing and lack of transparency.

The data also suggests that by creating innovative solutions to empower consumers’ emotional wellbeings, this could encourage a more considered approach to purchasing behaviours and combat consumers’ careless disposal habits. Subsequently, this would promote higher levels of environmental, social and economic wellness.

E: missnatashaward@gmail.com missnatashaward

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LAURA BORTHWICK-WHITEHURST DISSERTATION ROUTE HOW KNITTED TEXTILES ARE UTILISED AND WHAT IMPACT THEY HAVE ON THE MEDICAL FIELD The healthcare industry is forecasting to have a compound annual growth rate of 6.4% in the years leading up to 2026. With this increase in growth, there is a corresponding increase in demand and supply for medical textiles. While there are many areas that make up the medical textiles market, there is a current drive for sustainable materials. This dissertation outlines knitted textiles, their use within the medical field and the impact they have within the industry.

There are various knitted structures, commonly used medical fibres and purposes of knitted applications within the sector of medicine, outlined within the secondary research. The research focuses on non-implantable and implantable purposes, within five key areas, identifying where benefits and drawbacks have been established. The secondary research has established that knitted structures provide high flexibility, sustainability, high porosity/absorption, and abilities for good design opportunities. Further findings establish the lack of biomechanical properties within knitted structures, where pain and discomfort can be present due to biocompatibility of the human body.

Interviews have been held with a medical textile company, establishing that the medical industry is seeing growth within the future prospects of innovation. Innovation is everevolving and used to overcome challenges within the industry. The interviews found that the medical textiles market is experiencing a heightened growth, increased further due to factors such as the Covid-19 global pandemic. Upcoming textiles that have the potential to overcome challenges within the medical industry was discussed with the company. Covid-19 has seen an increase of single-use PPE, driving research for a sustainable future, establishing reusable and disposable textiles.

Qualitative research has been conducted through interviews with medical professionals, regarding their knowledge of knitted structures within the medical field. Data showed there was a need for the upskilling of workers around the topic of technical textiles to enhance patient care.

Questionnaires have established the current consumer knowledge around the use of medical textiles, with focus on knitted structures, exploring if an increase in knowledge can provide better healthcare for the population. The main findings might conclude that knowledge is a powerful tool that can increase the experience of patient care. This applies to both patients and medical professionals.

E: lauraw62cpa@gmail.com

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De Monfort University The Gateway Leicester, LE1 9BH UK T: +44 (0)116 2 50 60 70 E: enquiry@dmu.ac.uk W: dmu.ac.uk/textiledesign