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&
the S word
humour
Hu
m our
&
the S word
by Rebecca Haughton
A research project exploring the use
of humour in design and its effect on
the consumption of ethical products.
Contents
5
9
Statement of intent
The S word
Project summary
What is S to me?
13
21
27
41
49
Humour theory
Incongruity theory
Incongruity in design
65
75
91
111
119
133
145
Going forward
Statement of intent
Statement of intent
Project summary
Ethical concerns are not high on most peoples fashion agendas and consumption
habits are hard to change (Mercer, 2014). This project will utilise ethical materials, but not as the unique selling point. Research suggests sustainability, in itself,
is not a benefit so it needs to be communicated in addition to the traditional
marketing cues that mainstream buyers respond to. (Bennie, 2014) Examining
knitted fabrics structural, textural and auditory capabilities, tests their sensory
effect. Exploring a fabrics production enables creation of a structure that is easily dismantled for reuse. These two considerations create humour driven knitwear
that is ethically produced.
Research into materials has shown how hard it is to get hold of small scale
amounts of recycled products. This will mean that the material used whilst sampling will sometimes have to be un-recycled to illustrate a point. It has become
apparent that in order to move forward ethically we need to leave behind the
stifling beige and work out innovative new ways of pushing the S word. This
means forgetting the normal constraints when producing ethically sound textiles,
coming up with a solution first then working out how one can make it ethical for
the mass market.
Exploration of the unconscious interpretation of knitted textiles can allow one to
challenge the preconceptions associated with knit. The initial visual assumption
that one makes (i.e. knit is soft, warm and wooly) is the element that can mislead,
creating a visual-tactual incongruity once someone has touched the knit and
realises everything is not as it seems. This surprise factor will aid in encouraging
consumers to question the textiles origin, opening up the discussion of sustainability in a more natural way.
Users experience will be investigated through focus groups, recording their physical and verbal reactions (these can be subtle upon interaction or more obvious
through verbal communication). This project will establishes which fabrics elicit
what reactions and how these can be harnessed. A surprise reaction whether
negative or positive is said to increase brand awareness (Strick et al. 2013). The
results from further focus groups can then be used to produce the perfect incongruous designs. Made from natural and recycled materials to begin a larger shift
in earth-positive textile consumption.
The S word
11
The S word
12
What is S to me?
13
15
16
17
18
Patagonia - Controversial Black Friday sales campaign encouraging consumers not to buy this recycled polyester jacket if they didnt
need it. This campaign saw annual sales increase by almost 40% in
two years.
Patagonia Black Friday sales campaign (2011) 'Dont buy this Jacket'
(Section 3 contextual research file)
19
20
21
Overwhelmed/disillusioned
23
Overwhelmed/disillusioned
88
Durability
Quality of product
(eg. stitching of seams)
87
79
Returns policy
78
Low price
66
56
44
35
Latest Fashion
33
33
30
12
20
40
60
24
80
100
25
Overwhelmed/disillusioned
Weintrobe, 2012
26
27
Humour theory
29
Humour theory
Fletcher, A. (2001) The art of looking sideways. New York: Phaidon Press.
(Section 9 of contextual research file)
30
31
Humour theory
32
Fletcher, A. (2001) The art of looking sideways. New York: Phaidon Press.
(Section 9 of contextual research file)
33
Humour theory
34
35
Humour theory
Shopping bag design that aims to get the consumer to question their
buying habits. The design frames your purchases in a transparent
stomach, presenting your shopping as physical consumption, as
opposed to material consumption.
Help cure hunger in New York (2013)
(Section 8 of contextual research file)
36
37
Humour theory
38
39
Humour theory
40
41
Incongruity theory
43
Incongruity theory
What is incongruity?
I.
44
What is incongruity?
45
Incongruity theory
Michelon et al. (2003) Neural correlates of incongruous visual information and event related fMRI study
(Section 14 of contextual research file)
46
What is incongruity?
47
Incongruity theory
48
What is incongruity?
49
Incongruity in design
51
Incongruity in design
52
Shelving made using waste from the packaging industry. The shelving
appears rigid when empty then upon interaction loses form and rigidity, creating an incongruity between expection and experience.
Studio Dewi Van der Klomp Soft Cabinet Green
(Section 8 of contextual research file)
53
Incongruity in design
54
55
Incongruity in design
56
An innovative fabric that initially looks like a 2D print. Its structural properties allow it to sit in a stiff origami like manner when
interacted with, though retaining the soft feel of a cushion.
Mika Barr - Geo pillows (2011)
(Section 18 of contextual research file)
57
Incongruity in design
58
59
Incongruity in design
When people encounter products with visualtactual incongruities, they are likely to be
surprised because the product feels different
than expected.
Ludden et al, 2012
60
A table that appears rigid, but is made from foam that is soft and
malleable when touched. The properties of the table allow for creating other functions, for example the flexibility of the table can be
used to make a fruit bowl.
Emma Fox-Derwin - Foam table
(Section 16 of contextual research file)
61
Incongruity in design
62
63
Incongruity in design
64
65
67
Repetitive cube structured knit. Exploring how one can create innovative & repetitive structures in knit.
Akris Fall/winter collection (2012)
(Section 15 of contextual research file)
68
69
70
71
Yarn used
Ethical alternative
Research into the details of commonly used yarns and their ethical
alternatives for consideration during practice based research.
(Section 1 of contextual research file)
72
Ethical impact
Yarn used
Ethical alternative
73
Ethical impact
74
75
76
77
79
81
82
83
84
The weighted blanket appears to facilitate the ability to feel safe, comforted,
and grounded in the world.
Mullet et al. 2008
85
86
87
88
89
Based on the images, one would expect the inserts to be soft and
bouncy, although to hold such clear form with lycra being pressed
against it, it is likely they are hard.
Rowan Mersh Future Landscapes (2007)
(Section 18 of contextual research file)
90
91
92
93
95
97
98
99
100
101
The sample above and to the right were testing ways in which one
could produce a knit that has synthetic on one side and natural on
the other. This was done using multiple feeders, changing the selection every row. This technique makes the sample easy to dismantle
if one wants to recycled the synthetic fibre and re-use or biodegrade
the natural. The rubber inserts could also be re-used.
Sample #17: Polypropleyne, Cashmere/wool blend & lycra.
10gge selective circular with alternating feeders Dubied.
With rubber inserts put in during knitting.
102
103
Copper wire in samples allow the fabrics to hold form. They may
appear fluid and stretchy as one would expect with a knitted fabric,
but are rigid due to the alloys.
Sample #31 & #24: Silk & wool mix with 0.2 copper wire
5gge Domestic Single bed
104
Section title
105
106
107
108
109
110
111
113
114
115
116
117
118
119
Sample development
121
123
Sample Development
124
125
Heavy
Sample #37: Merino & Brushed Mohair,
2gge Dubied Selective circular
With waste silicone inserts.
126
Sample Development
Light
Sample #37: Merino & Brushed Mohair,
2gge Dubied Selective circular
With waste memory foam inserts.
127
Heavy
Sample #42: 100% silk
12gge Dubied selective circular.
With circular silicone inserts.
128
Sample Development
Light
Sample #45: 100% silk
12gge Dubied selective circular.
With circular waste foam inserts
129
Sticky
Smooth
130
131
Sticky
Smooth
132
133
Sample Development
Tacky
Sample #34: Mohair/Merino Brushed.
2gge Dubied double bed plaiting feeder used to place mohair on the
outside and merino on the inside, plain knit.
Silicone coated back.
134
Fluffy
Sample #44: Mohair/Merino Brushed.
2gge Dubied double bed plaiting feeder used to place mohair on the
outside and merino on the inside, plain knit.
135
137
138
Focus group #9
2:55 Participant B Interacting with #47 & #53
[Looks over confused, thinking its the same sample, checks her own]
2:57 Participant B Interacting with #47 & #53
[Picks up #53 frowns and looks shocked] Has this one got plastic on
it? [continues to look distressed and feels #47 too to check]
139
140
Focus Group #8
3:36 Participant A Interacting with #53:
[Picks up #53 feels weight]
3:36 Participant A Referring to #53 & #54:
Whats the difference between these two? [Reaches to feel #54]
1:10 Participant B Interacting with #45:
[Picks up and looks at the inserts, then begins to squeeze them]
1:19 Participant B Interacting with #45 & #42:
[Sees the similarity between samples so reaches to test what that
one feels like, she then picks it up and stretches it, putting it down
within 5 seconds]
141
Focus group #4
3:00 Participant D Interacting with #39 & 37:
[Picks up #39 squeezes it and presses it against her chest with the
palms of her hands, Then reaches over and touches #37 to see how
that feels, realises its different and continues to play with #39]
Focus group #5
2:08 Participant C Referring to #47:
This did not feel how I thought it was going to feel
2:12 Participant A - Referring to #34
No, I wasnt expecting that look [strokes soft side then silicone
side on Participant Ds hand] feel that!
Focus group #5
3:22 Participant D Referring to #45:
So whats in the middle of these?
3:25 RH Referring to #45
Thats memory foam, waste foam, theres loads of ends lying about
at the croft so I thought id use that up
142
Focus group #7
1:12 Participant A Interacting with #40
[Picks up, looks at one side then flips over to check the other]
This one feels like its guna be nice but when you feel the back its a
bit gross!
143
145
Going forward
147
149