Magazine Notes

Icrease in sales on 'urban renewal ' outfitters etc, but people still wont do these things themselves


TEXTILE NOTES IN NOTEBOOK


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JOURNAL OF MATERIAL CULTURE

page 3
'scholars of material culture and memory have explored the way objects endure through time and encapsulate a 'silent' trajectory of human-object relations, sustaining past in the present. As traces of times gone by, momento, souveniers and family hierloons fix the prescences of the past in everyday domestic materiality and familial social revelations.'

page 4
'objects not only remind the owner/user of past practices and situations but also act as 'portable places' transporting the self back to distant places and times. moving beyond the traditional conceptualisation of commemorative artefacts as 'dormant bearers' of the past that prompt the individual to nostalgically long for or virtually represent what cannot be restored, Turnball asserts that objects function as vital repositories of the past via active performance and enactment of human-object relations that bring the past sensuously, viscerally and emotively alive for rememberes. Having conjoured up landscapes, lest homes, ones heritage and the dead, the object is capable of bridging existing boundaries not only between past and present but also between deathworlds and lifeworlds'

'saunders presents an account of 'trench art' - artillery shells and bullets recycled by soldiers into works of art. Person-object relations with trench art evokes both the horrors of the battlefield and the miraculous and regenerative force or survival and/or the commemoration of loved ones'

page 44
'DeborahLupton argues that objects form n integral part of human social relationships. Once n object is acquired by an individual, it can move from the realm of 'mass-produced commoditity' into the realm of 'personal possession' because it becomes invested with meaning for the owner and therefore de-commodified. Objects are 'endowed with these meanings through the process of linking them with abstract values that are not inherently attatched to them' and, as a result, they become infused with emotion'

'de-commodified, or indeed non-commoditity, objects such as photographs, jewellery, letters and clothing are often identified as important objects imbued with emotion and identity. In the context of death and bereavement, research has investigated how the possessions of the deceased are distributed amongst mourners and how these objects perpetuate an ongoing relationship with the dead.

page45
''social interaction with and through material forms tends to destabilise subject/object boundaries such that material objects cn become extensions of the body and therefore of personhood.' Hallam and Hockey employ this argument to demonstrate how deceased individuals can retain a physical presence amongst the living through objects that were once their belongings'


EMBROIDERY

page 8
many embroiderers learned to sew at the knee of their mother or aunt. its the way that knowledge has been passed from generation to generation for centuries - mny of us learning to make, mend and master from our elders [p.8, Embroidery Magazine]
this passing has all but stopped, and been replaced by online tutorials and books. The individual will make their own choice whether to sew, and then learn it from these sources.


TEXTILES

page 7
"With the explosive growth in the popularity of denim cottom around the globe, the use of recycled cotton is increasingly important as a means of preserving natural resources and reducing landfill wastes," said Stowe Beam, SCS managing director of environmental certification services.

page 19
'Fuad-Luke uses the term 'design activist'; suggesting a person who uses deisgn to change things for the better from an environmental as well as a social point of view.'

'sustainable design has gained increasing attention in the past five years through rapidly emerging environmental problems from climate change to polluted rivefrs. an ever growing population and globalisation have forced thinking towards more sustainable product manufacturing goods in a manner that does not over consume our share of resources to the cost of future generations'

page 20
even though product manufacturing has no doubt a big impact on sustainability, the end user holds a huge responsibility to the overall sustainability of a product. This is a point when sustainable design jumps in. A designer can make several decisions to expand the life cycle of a product by good design choices. It can be claimed that sustainable design and good product design go hand in hand...
We can find textile products where any type of cleaning is not accepted. This type of care label may have been mde in the hope of avoiding responsibility if mixed materials are washed wrongly, but it leads to disposable products.
Materials of different resistance of use and car are combined with the result of short life products. And then we have a completely different issue - fast fashion, products that are not even aimed to last very long. Sometimes the quality can be so poor that they cannot be recycled or reused and don't even have a second use, something which is creating problems for traditionl recycling markets. So arguably quality is one of the key sustainable produt design principles.

Switching away from fast fashion requires a mind change in the values of customers. There has been a decrease in the value. At the beginning of the 20th century, clothes were so valuable that they were often listed in peoples wills and inherited by the next generation. Even in the fifties, holes in socks were darned every night in Finland. Even though it is very rare that people would sew holes in socks today, there are lots of signals that there is a change of thinking.


'Slow Fashion' is to create timeless, long lasting, quality products, that their owner with cherish and is willing to take care of. Here is where emotional design kicks in.

an attempt 'to make an emotional connection with a product is to implement collaborative design practises into the product innovation process. the involvement in the product design progress gives the feeling of owenership. Anja-lisa hirscher in 2013 research this by holding workshops and halfmade products. she was interested to see if it changed emotional attatchment to the clothing if the person was involved in making it. she found out that the majority of people value the clothing they have made themselves more compared to a purely bought one. A commercial example is the PUMA factory, where a customer can customise and order their own shoes.


TRAPPED BY TATRIZ

 page 129
recent decades have transformed the significance of hand embroidery and beadwork (tratriiz) for Bedouin women. Once  valued skill used to convey cultural meaning, especially marital status, through costumes, it has now become a commodity whose benefits are unequally distributed. Marketed by successful projects, it may be a welcome provider of independent funds for women and improved family income. Eqully it can lead to demeaning encounters, as women set aside cultural normas to sell goods made with declining skill.

TEXTILE THE JOURNEY OF CLOTH AND CULTURE - READ MORE OF THIS VERY RELEVANT TEXT.