M. Voorwinden
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Driven by the potential of smart textiles, shape-changing structures, living textiles, and sustainable manufacturing methods, designers are pushing the boundaries of weaving. However, most existing industrial technologies are designed for mass-producing simple, flat fabrics. This has narrowed the collective understanding of weaving's design potential, thereby restricting the development of complex, three-dimensional, and animated textiles. We present a toolkit, developed through an exploratory workshop and focus group discussion with academic and industry-based designers, that enables exploration and expansion of the design space for woven textiles. The card deck and canvas provide a shared language to externalise and interrogate existing ways of thinking, while a modified frame loom enables hands-on exploration of new possibilities. The toolkit demonstrates how combining analytical reflection with hands-on making offers both techniques and a vocabulary for unconventional textile design, while enabling critical examination of production systems.
...
Driven by the potential of smart textiles, shape-changing structures, living textiles, and sustainable manufacturing methods, designers are pushing the boundaries of weaving. However, most existing industrial technologies are designed for mass-producing simple, flat fabrics. This has narrowed the collective understanding of weaving's design potential, thereby restricting the development of complex, three-dimensional, and animated textiles. We present a toolkit, developed through an exploratory workshop and focus group discussion with academic and industry-based designers, that enables exploration and expansion of the design space for woven textiles. The card deck and canvas provide a shared language to externalise and interrogate existing ways of thinking, while a modified frame loom enables hands-on exploration of new possibilities. The toolkit demonstrates how combining analytical reflection with hands-on making offers both techniques and a vocabulary for unconventional textile design, while enabling critical examination of production systems.
Woven Textile-Form Design
A Method to Design Woven 3D Form
In recent years, there has been a growing interest in the use of conformal manufacturing approaches for consumer textile products such as WholeGarment knitting, 3D Weaving and Woven Textile-form (WTf) design. By emphasizing zero-waste, local and on-demand manufacturing, these approaches have the potential to significantly impact the production of textile-based objects and contribute to the larger sustainability movement. Despite significant efforts in textile design and engineering, there is still a lack of research on WTf design methodologies for industri-
ally producing textile-based products. This is a crucial step required to ensure wider adoption of these approaches. This article proposes a method for designing industrial jacquard woven textile-forms. We will first introduce the the oretical basis of our method, and then present the
method, illustrated by the four-year-long development of a WTf trouser. Additionally, this paper identifies gaps in knowledge, technology, and infrastructure within the textile industry, which can guide future research directions ...
ally producing textile-based products. This is a crucial step required to ensure wider adoption of these approaches. This article proposes a method for designing industrial jacquard woven textile-forms. We will first introduce the the oretical basis of our method, and then present the
method, illustrated by the four-year-long development of a WTf trouser. Additionally, this paper identifies gaps in knowledge, technology, and infrastructure within the textile industry, which can guide future research directions ...
In recent years, there has been a growing interest in the use of conformal manufacturing approaches for consumer textile products such as WholeGarment knitting, 3D Weaving and Woven Textile-form (WTf) design. By emphasizing zero-waste, local and on-demand manufacturing, these approaches have the potential to significantly impact the production of textile-based objects and contribute to the larger sustainability movement. Despite significant efforts in textile design and engineering, there is still a lack of research on WTf design methodologies for industri-
ally producing textile-based products. This is a crucial step required to ensure wider adoption of these approaches. This article proposes a method for designing industrial jacquard woven textile-forms. We will first introduce the the oretical basis of our method, and then present the
method, illustrated by the four-year-long development of a WTf trouser. Additionally, this paper identifies gaps in knowledge, technology, and infrastructure within the textile industry, which can guide future research directions
ally producing textile-based products. This is a crucial step required to ensure wider adoption of these approaches. This article proposes a method for designing industrial jacquard woven textile-forms. We will first introduce the the oretical basis of our method, and then present the
method, illustrated by the four-year-long development of a WTf trouser. Additionally, this paper identifies gaps in knowledge, technology, and infrastructure within the textile industry, which can guide future research directions
This paper presents the development of a set of multistable textiles, emerging from a design exploration into leno weaving techniques. In this structure, two warps cross around a weft yarn, creating an open, yet strong textile. We propose that leno weaving offers unique affordances for creating lightweight textiles with multistable adaptive properties. Our work contributes to a growing discourse on intelligent materials, particularly those that embed interaction potential into their structure and behavior, rather than relying on electronics. The multistable textiles presented in this paper are particularly promising for interactive and wearable applications, where users can actively engage with and adjust the properties of the textile, such as support, flexibility, or breathability, through reversible mechanical state changes. In addition to technical contributions, we reflect on the design considerations and challenges of working with traditional textile craft techniques, highlighting the sustainable and creative potential that emerges from revisiting these practices through a design research lens.
...
This paper presents the development of a set of multistable textiles, emerging from a design exploration into leno weaving techniques. In this structure, two warps cross around a weft yarn, creating an open, yet strong textile. We propose that leno weaving offers unique affordances for creating lightweight textiles with multistable adaptive properties. Our work contributes to a growing discourse on intelligent materials, particularly those that embed interaction potential into their structure and behavior, rather than relying on electronics. The multistable textiles presented in this paper are particularly promising for interactive and wearable applications, where users can actively engage with and adjust the properties of the textile, such as support, flexibility, or breathability, through reversible mechanical state changes. In addition to technical contributions, we reflect on the design considerations and challenges of working with traditional textile craft techniques, highlighting the sustainable and creative potential that emerges from revisiting these practices through a design research lens.
Animated textile-forms hold great potential to seamlessly embed interaction in textile-based artefacts. This paper presents a comprehensive design space for animated woven textile-forms, explored via shuttle weaving. HCI designers have explored the potential of shuttle weaving for local material placement via partial weft insertions and continuous yarn paths to create flexible circuits, sensors in textiles, and, more recently, for animated textile-forms. While these examples indicate early steps towards animated woven textiles, further articulation of the many processes, ingredients, structure, and form variables available to designers is required to realize the full potential of this weaving technique. Addressing this gap, we developed a design space through a combination of literature review and practice-led exploration undertaken for a specific design case - animated 3D shuttle-woven trousers. Our work aims to inspire HCI designers to explore and expand the use of shuttle weaving as an accessible and versatile technique for textile-forms with rich interaction possibilities.
...
Animated textile-forms hold great potential to seamlessly embed interaction in textile-based artefacts. This paper presents a comprehensive design space for animated woven textile-forms, explored via shuttle weaving. HCI designers have explored the potential of shuttle weaving for local material placement via partial weft insertions and continuous yarn paths to create flexible circuits, sensors in textiles, and, more recently, for animated textile-forms. While these examples indicate early steps towards animated woven textiles, further articulation of the many processes, ingredients, structure, and form variables available to designers is required to realize the full potential of this weaving technique. Addressing this gap, we developed a design space through a combination of literature review and practice-led exploration undertaken for a specific design case - animated 3D shuttle-woven trousers. Our work aims to inspire HCI designers to explore and expand the use of shuttle weaving as an accessible and versatile technique for textile-forms with rich interaction possibilities.
Making in the Dark
Diffractive Re-interpretations of a Sample Archive
Sample making and documentation are well established practices in digital craftsmanship. However, we rarely discuss how we return to these collections to look for starting points and new understandings. In this provocation, we propose diffraction as a way to describe how we revisit and reconsider samples in different times and contexts. In doing so, we can imagine what other knowledge might be present in them and interpret what else they might do. We use the example of the development of a filtering textile, based on a set of woven samples developed for other purposes and projects. Through this, we show how a relatively simple strategy can support us to investigate material samples and collections through a kind of makers’ science, in which both inspiration and proof may lie in the material samples themselves.
...
Sample making and documentation are well established practices in digital craftsmanship. However, we rarely discuss how we return to these collections to look for starting points and new understandings. In this provocation, we propose diffraction as a way to describe how we revisit and reconsider samples in different times and contexts. In doing so, we can imagine what other knowledge might be present in them and interpret what else they might do. We use the example of the development of a filtering textile, based on a set of woven samples developed for other purposes and projects. Through this, we show how a relatively simple strategy can support us to investigate material samples and collections through a kind of makers’ science, in which both inspiration and proof may lie in the material samples themselves.
Weaving Textile-form Interfaces
A Material-Driven Design Journey
A woven textile-form is a form that is constructed simultaneously as the textile is woven. Interfaces designed with this approach hold undisclosed potential for rich interactions. However, the design of woven textile-form interfaces requires specialised tacit knowledge, which is limited even in craft and practice spaces; and it is therefore inaccessible to HCI designers. To bridge this gap, we present the material-driven journey of a multidisciplinary team to design a woven textile-form interface using various techniques such as paper models and diagrams to design for multi-layer weaving. Replacing traditional yarns with conductive yarn, we achieved woven textile-forms with electronic sensing capabilities. By outlining our process, the pictorial highlights the challenges and opportunities of textile-form thinking for HCI designers. Additionally, its printed version serves as a ‘paper prototyping tool’ for designers to gain hands-on experience developing textile-form interfaces.
...
A woven textile-form is a form that is constructed simultaneously as the textile is woven. Interfaces designed with this approach hold undisclosed potential for rich interactions. However, the design of woven textile-form interfaces requires specialised tacit knowledge, which is limited even in craft and practice spaces; and it is therefore inaccessible to HCI designers. To bridge this gap, we present the material-driven journey of a multidisciplinary team to design a woven textile-form interface using various techniques such as paper models and diagrams to design for multi-layer weaving. Replacing traditional yarns with conductive yarn, we achieved woven textile-forms with electronic sensing capabilities. By outlining our process, the pictorial highlights the challenges and opportunities of textile-form thinking for HCI designers. Additionally, its printed version serves as a ‘paper prototyping tool’ for designers to gain hands-on experience developing textile-form interfaces.
In this paper, we explore how textile-form thinking, i.e., the simultaneous design and construction of the textile and form, can be leveraged as a strategy to embrace and unlock the performative potential of woven interactive textiles to building towards more intuitive interactions with woven interactive textiles in our everyday. First, we designed and wove five textile-form interfaces, working as contact switches and sensors, with sensing capabilities and diverse performative qualities. Then, we investigated the action possibilities of the interfaces in an exploratory study. Grounded on the study's outcomes, we identified three design themes relative to the performativity of our woven textile-form interfaces. Finally, we derived practical design tactics that designers can apply to design for the performativity of woven textile-form interfaces.
...
In this paper, we explore how textile-form thinking, i.e., the simultaneous design and construction of the textile and form, can be leveraged as a strategy to embrace and unlock the performative potential of woven interactive textiles to building towards more intuitive interactions with woven interactive textiles in our everyday. First, we designed and wove five textile-form interfaces, working as contact switches and sensors, with sensing capabilities and diverse performative qualities. Then, we investigated the action possibilities of the interfaces in an exploratory study. Grounded on the study's outcomes, we identified three design themes relative to the performativity of our woven textile-form interfaces. Finally, we derived practical design tactics that designers can apply to design for the performativity of woven textile-form interfaces.
The Circular Techno-Aesthetics of Woven Textile-forms
A Material and Process-driven Design Exploration.
Material-Driven Design (MDD) proposes that we value the behaviours, performance
properties, and aesthetics that emerge from a material’s inherent properties – an approach that provides a much-needed perspective for the textile and fashion industry as it develops new sustainable and circular systems. This research expands this material-led approach to include design-production processes framed within holistic notions of sustainability. In contrast to a conventional top-down design
research process, material-processual-driven design approaches may enable us to break from the trap of developing and evaluating the outcomes of new design systems through the lens of our existing (usually unsustainable) approaches. This paper reflects on the tensions experienced by the authors in navigating concerns of technological feasibility, aesthetic outcomes, and the sustainable goals framing
two sets of woven textile-form design experiments. Textile-forms are design-production processes that emerge from the simultaneous production of textile and form via the interlacement of matter/fibre/yarn and are designed to facilitate localised, on-demand production of textile-based objects. We will present the experiments, which were developed over six months, reflecting on the technical and evaluation processes that contributed to their development and the challenges that arose. This paper provides grounded examples of design researchers navigating this challenging space and the outcomes that emerge and aims to contribute to a greater understanding of circular techno-aesthetics that may support the industry as it develops the new systems it needs.
...
Material-Driven Design (MDD) proposes that we value the behaviours, performance
properties, and aesthetics that emerge from a material’s inherent properties – an approach that provides a much-needed perspective for the textile and fashion industry as it develops new sustainable and circular systems. This research expands this material-led approach to include design-production processes framed within holistic notions of sustainability. In contrast to a conventional top-down design
research process, material-processual-driven design approaches may enable us to break from the trap of developing and evaluating the outcomes of new design systems through the lens of our existing (usually unsustainable) approaches. This paper reflects on the tensions experienced by the authors in navigating concerns of technological feasibility, aesthetic outcomes, and the sustainable goals framing
two sets of woven textile-form design experiments. Textile-forms are design-production processes that emerge from the simultaneous production of textile and form via the interlacement of matter/fibre/yarn and are designed to facilitate localised, on-demand production of textile-based objects. We will present the experiments, which were developed over six months, reflecting on the technical and evaluation processes that contributed to their development and the challenges that arose. This paper provides grounded examples of design researchers navigating this challenging space and the outcomes that emerge and aims to contribute to a greater understanding of circular techno-aesthetics that may support the industry as it develops the new systems it needs.