MA Textile Futures Catalogue

BREAKING GROUND
-2COLLABORATIVE
-10FORECASTING
-16RELEVANT
-24-
TEXTILE
FUTURES
2012
Another exciting year, the first in our new home at Kings Cross, where we thrive to consistently
redefine our discipline. We continue to encourage our students to actively re-think the future of the
material world, looking beyond existing technologies, industries and practices to anticipate future
needs, desires, and challenges.
This year we have had a strong focus on our core expertise in trend forecasting and future insights.
Curriculum projects such as Futurising Sustainability encouraging students to combine social,
political and economic inquiry to inform future, sustainable design applications . A collaborative project
with Leah Buechley at MIT have led our first year designers to anticipate our future material world.
A period of exciting developments within the course team, last year our course founder Carole Collet
stood down as Course Director, to become a full time Reader and Deputy Director of our Textile
Futures Research Centre here at Central Saint Martins. Carole continues to work closely with the
course and enrich the curriculum with experimental research workshops, as well as the odd brainstorm
session in her shed. Running the course from last September, Spring term saw our Acting Course
Leader Kate Goldsworthy take leave from her post to go on maternity leave. We were thrilled to
welcome senior lecturer Kieren Jones to the team, with a background in product design and a devishly
detailed eye for making.
Continuing to make waves within the creative industries despite the tough economic climate our
students grab highly sought-after roles on graduation. Bagging roles in the automotive sector with
Nissan and Citroen, roles in R&D within companies such as Nokia, as well as internationally renowned
research residencies at Symbiotica. Turn to our Graduate Focus section to find out more.
This year our Textile Futures graduates of 2012 have probed the near and far future to look for
biological, ecological, and technological solutions. Some of the key themes include exploring analogue
interaction between human and material to encourage movement, poetic contemplative design objects
to slow down our fast-paced life, as well as questioning ownership of the earths resources through the
stark proposition that the only resource we lay claim to is our own human body.
We hope you enjoy reading about the course as much as we enjoy taking part in it. Wed love to hear
from you if you would like to get in touch.
Caroline Till, Acting Course Leader
BREAKING
GROUND
Exploring the future
of materiality,
we approach textile
design as a form
of industrial design
but with a focus on
the language and
codes inherent
to textiles
EDIBLE ALCHEMY
A worklab organised by Bartaku and Carole Collet as part of
the Resilients, a European Culture Programme Project
Our first year MA Textile Futures designers

were involved in a speculative design
experiment in preparation for a public open
lab on the 27th of April 2012. Edible
Alchemy invited guests to participate in the
fabrication of micro electrical energy, using
food and other edible substances as raw
ingredients. These e-tapas were then tested
for tickles on the tongue, taste and texture.
The work is inspired by the Temporary
PhotoElectric Digestopians (TpED)
Worklabs run by our guest artist Bartaku.
The 2 week Edible Alchemy programme
introduced the notion of resilience in
relation to our production and consumption
of energy. The lab proposed a playful
approach to explore biomimetic principles
to produce micro energy as a potential
model of resilience. The intention was to
learn from biological systems how energy
can be produced and to illustrate mankinds

relentless quest for access to energy. Plants
can be inspiring models of resilience in that
they adapt to constantly varying degrees of
light and other environmental conditions
and have developed a capacity to adapt
and survive. They (here we used a range of
berries) can transform part of the (sun)light
into electrical energy at ambient temperature,
energy that is transformed in - and used
by - animals and/or humans, with leftovers
released back into the environment. Our
aim was to harvest light energy by creating
a biological electrical device made of active
food ingredients.
This project is part of a series of cultural
interventions orchestrated by The Resilients,
a group of creative organisations supported
by the European Culture Programme.
Resilients imagine possible futures and
prototype them as artistic experiments in living

and working environments. In 2011 a group of
us started the Resilients project, to collect, create,
share and support resilient creative practices
that we believe are needed to thrive in uncertain,
turbulent times.
A resilient practice is both flexible & robust.
It is continuously engaged in the delicate
balancing act of growing & evolving, adapting
to change & discarding unsustainable
elements. Resilients recognise that change is a
continuous process, growing less predictable as
our habitats, societies, economic & technological
systems increase complexity & become more
interdependent. To be able to respond to
unpredictability, we can look at human abilities
to face & embrace change, whether perceived as
positive, negative or neutral.
resilients.net
Photography by Mischa Haller
BIOFACTURE
A Quest for Future Sustainable Fabrication:
Carole Collet, Reader in Textile Futures
My main research concerns our future

survival and the role of design in sustainable
fabrication post 2050. The 19th and 20th
centuries have been centred around
manufacturing, consuming and generating
an ever increasing number of must have
consumer goods. The design brief consisted
often in engineering obsolescence into our
everyday products regardless of the impact
of energy hungry and polluting processes
onto our environment. Nearly twenty
years ago today I started investigating how
design could reconcile manufacturing with
ecological thinking. At the time, few were
interested in sustainable design, even fewer
considered applying their creative thinking to
what was then thought to be just a short term
trend. 2012 however presents a very different
picture: a sharp rise in environmental
awareness, only matched by the now tangible
impact of climate change and a first in Earth
history: 7 Billion people, alive, consuming,
and still increasing. I believe we have entered
a new era, and we need to learn to produce
like nature does, at ambient temperature,
using sunlight as a power source, and without
producing toxic waste as by-products. With
what is currently emerging in the field of
living technology and synthetic biology, we
may be able soon to consider nature like
manufacturing, thus entering what I call the
biofacturing era.
world. The Craig Venter Institute is a

leader in the field of studying and analysing
digital biological data. Venter states that:
In essence, scientists are digitizing biology
by converting the As, Cs, Ts, and Gs of the
chemical makeup of DNA into 1s and 0s in a
computer. But can one reverse the process and
start with 1s and 0s in a computer to define
the characteristics of a living cell? We set out
to answer this question. (Retrieved from jcvi.
org, accessed September 2011).
In May 2010, the Venter Institute
announced the creation of the first
self-replicating synthetic bacterial cell,
achieving a major breakthrough not only in
understanding and decoding this biological
alphabet, but in controlling it. We can now
speak the language of life. In this new biodigital world, bacteria become manufactures,
and proteins become tools. DNA is the digital
code that enables us to boot up or reboot a
cell as one would do with a computer. The
concept of biological evolution has just been
transcended by synthetic biology: we can
create life, from the bottom up, by hacking
and manipulating raw biological blocks.
We are now witnessing the convergence of
synthetic and systems biology together with
nanotechnology, genetic engineering and
information systems and this creates a new

type of technology, one that has the power to
be alive and to behave like living systems.
1. CAD
3. CAB
Computer Aided Design
Computer Aided Biofacturing
DESIGN AND ETHICS:
A whole new panorama of possibilities is

ahead of us, yet it is difficult to imagine how
our everyday products could be enabled by
such technology in the future. Designers will
need to adapt and learn different tools to be
able to understand how to work with these
new living manufactures. They will have
to grasp a brand new world where material
and technology have effectively become one
entity. The old fashioned concept of using a
technology as a means to transform a material
will be redundant. These new living materials
are also the technology that shaped them.
And if we think that the introduction of
computing technologies has radically changed
the design toolbox in the last two decades,
imagine what these new living materials
will lead to. Synthetic biology and, more
broadly, Living technology is about to re-map
the material and technological landscape as
we know it. These technologies are still in
science labs, and as much as designers have
a role in developing an imaginary of living
SYNTHETIC BIOLOGY AND

LIVING TECHNOLOGY:
Until very recently, biologists have been

observers. Their main focus has been to
dissect biological parts and to study living
organisms so as to understand the rules of
life outside (in vivo) or inside (in vitro)the
laboratory. Synthetic biologists are now
in a position to code and re-program life,
and are beginning to create artificial living
matter from scratch, they are on the verge
of revolutionising the way we conceive,
design and produce. For this, they are simply
using what has become the main alphabet
of the century: A (adenine), T (thymine), C
(cystosine) and G (guanine) together with
the 1s and 0s of our computer programming
2. CAM
Computer Aided Manufacturing
technologies, it is also crucial that we question

the risks of working with self replicating
materials, and the ethics of a future where
everything is reduced to programmable
coding, even the living.
RELATED RESEARCH PROJECTS:
As a mean to investigate the promises and

demises of living technology I am currently
working on curating an exhibition for the
EDF Fondation in Paris, due to open in
April 2013. The exhibition will showcase the
intersection between design, biomimicry and
living technology.
I am also producing Biolace - Probe 2, a
speculative design-led research project that
investigates the intersection of synthetic
biology and textile design to propose future
fabrication processes for textiles. The
motivation behind this research lies in the
hypothesis that living technology can foster
a new approach to address some of the key
sustainable challenges of the 21st century.

The BioLace project is designed to probe
the potential of a biological manufacturing
future by exploring the cellular programming
of morphogenesis in plant systems. For this,
Design Researcher Carole Collet imagines
the creation of a hybrid strawberry plant
which would produce at the same time both
strawberry fruits and lace samples from its
roots. The future biological control of genetic
morphogenesis implies that we could design
plants to perform specific functions for us.
This post 2050 scenario considers a radical
way to combine food production with textile
production, thus designing plants that could
replace textile machinery but also provide
nutrients. This eco-topian scenario aims at
reconsidering and evaluating our sustainable
design tools and methods and is located
within the predicted ecological crisis when
exploding world population will stretch our
capacity to provide enough energy, food,
water and products for all. Biolace will be
Stawberry Lace by Carole Collet
showcased at Futuro Textile 3 opening in

Lille in October 2012 at the new Centre for
European Innovative textiles.
www.ceti.com
Note: the above is a revised version of a paper
presented at Ambience 11 conference, University
of Boras, (www.ambiance11.se) and published
by Studies in Material Thinking (www.
materialthinking.org) as :BioLace: An
Exploration of the Potential of Synthetic
Biology and Living Technology for Future
Textiles, March 2012.
University of Bors (2011), Studies in
Material Thinking (2012), and Carole Collet
the author, Central Saint Martins College of Arts
and Design, University of the Arts London.
carolecollet.com
arts.ac.uk/tfrg/
TEXTILE FUTURES: CUTTING

EDGE RESEARCH AT PHD LEVEL
Textile Futures graduates increasingly venture into PhD positions to
explore the intersection between science and design, in particular with a
focus on future sustainable materiality
As course founder and research director
Carole Collet explains the course encourages
designers to investigate unconventional
research avenues which can open up new
horizons for design and material research.
The course is an ideal preparation for a
practice based PhD, with a strong emphasis
on the contextualisation and justification
of every design project culminating in the
formulation of a personal research question
for the final masters project.
innovation and alterations in human

behaviour. During her time at Textile Futures
Laerke claims she gained the skill to draw
on technological and scientific concepts, facts
and principles, which opened up a completely
new vocabulary of design thinking and
making, aesthetics and ethics. Within her
work Laerke looks into a future in which

synthetic materials are our new resources and
the boundaries between the natural and the
artificial have dissolved, allowing an entirely
new range of materials and a new design
language to evolve.
laerkehoogeandersen.com
AURLIE MOSS
Graduating from Textile Futures in 2008

Aurlie Moss is currently undertaking
a joint PhD at the CITA, Centre for IT
& Architecture and the Textile Future
Research Centre, Central Saint Martins.
Her design-led research is looking at
self-actuating textiles within the context
of the home. The project started during a
partnership between Textile Futures and
Philips as part of her first year on the course,
when she developed a conceptual proposal
for a smart wallpaper. Her interest in this
area and her desire to pursue a practice-based
PhD was deeply nurtured during her time
on Textile Futures. Aurlie explains the
course experience provided me with basic
knowledge, both theoretical and practical,
in the area of smart textiles, interaction
design and sustainable thinking, which are
not traditionally taught in textile design
education. Aurlie credits the courses
interdisciplinary approach engaging fields
such as material science with having informed
the field of interest for her PhD topic
Tectonic Textiles.
aureliemosse.com
LAERKE HOOGE ANDERSEN
Laerke Hooge Andersen graduated from

Textile Futures in 2010 and is now a PhD
student in the smart textile department of the
Swedish University of Bors. Her research
revolves around the notion of synthetic
biology, a development of her masters project
The Synthetic Kingdom.
The project explores future scenarios
and how biotechnology can lead to material
Tectonic Textiles by Aurlie Moss
BERIT GREINKE
Berit Greinke is currently pursuing a PhD

in Media & Arts Technology and is part of
the Antennas & Electromagnetics research
group at Queen Mary College University
of London. Berits decision to continue
her highly cross-disciplinary research at a
university not driven by design but technology
allows her to have access to a variety of
specialist facilities and expertise relevant for
her material research. Her objective is the
development of textile antenna that allows
a material to be flexible and light-weight.
Her design process includes experimentation
within a broad range of textile and design
techniques such as embroidery, 3D printing,
laser cutting or vacuum dispersion. Her
collaborations include work with computer
scientists, performers, musicians and
physicists. Berit says her time at Textile
Futures introduced her to a range of design
methodologies, practices and formulating
research questions, as well as preparing her
for presentations and public lecturing.
beritgreinke.com
MARIN SAWA
Marin Sawa has recently received the

University of the Arts London International
Graduate Scholarship Award and is currently
a PhD candidate within the Textile Future
Research Centre at Central Saint Martins,
supervised by Carole Collet, James Swinson
and Professor Peter Nixon. Her research
question asks; How can an intersection of
textile and architectural design with algal
biotechnology generate new applications in an
urban environment?. Throughout her MA
Marin says she learned that being proactive
and taking initiative are two very important
skills that have helped her to start working with
scientists early on and eventually paved her way
to a practice based PhD. Her hands-on approach
in implementing scientific research into actual
design pieces has led to a certain scientific
realism underlying her PhD research. She is
currently looking at materialising her research
into living textiles that form a new urban form
of algae cultivation.
marins.co.uk
Algaerium Pods by Marin Sawa
Laerke Hooge Andersen and Ulrik Martin Larsen
COLLABORATIVE
Crossover with
other disciplines, as
well as with science
and socio-economics,
are more pertinent
than ever
10
11
TEXTILE FUTURES MEETS

MIT MEDIA LAB
Textile Futures continues to forge new relationships with like-minded
institutions and last autumn piloted an exciting collaborative project with
students at MIT Media Lab in Boston, USA.
REMOTE COLLABORATION
The collaboration between students from

MA Textile Futures and MIT Media Lab
came about through a conversation between
CSMs Jo Morrison, and Leah Buechley,
Director of Media Labs High-Low Tech
Group. It was felt that both groups were
interrogating relationships between design,
technology and society in unique ways,
and that a dialogue could prove valuable
to enhance these radical explorations.
The project took place over three weeks,
taking the form of a conversation with both
groups exploring how technology can enable
remote collaboration. Initially each group
spent time brainstorming to formulate a
question they felt was pertinent to their
study to pose to the other group of students.
Discussing topics such as the emergence
of living technology and convergence
Textile Futures asked: In a future in which
technologies emulate our instinctive thoughts
and inbuilt resilence, how will human
behavior be redefined? MIT posed the
question What are the new standards
of survival?
In London, Textile Futures students
organised themselves into three groups,
broadly exploring the themes of Preserve,
Control, and Escape in response to the
question set by MIT.
ESCAPE
The Escape, or Fermata group explored

the idea of pause as implicit for human
survival. Agreeing on the key words to
help them in their definition including
elongation, fragmentation, displacement and
weightlessness, the group examined the need
to reduce the cognitive load, the problem of
information over-consumption and the state
of continuous partial attention. In response
they proposed a dream-like scenario in which
objects on a trip offer a blank or fascinating
moment, a Fermata or pause to reflect.
1
12
PRESERVE
The Preserve group were interested in

our digital afterlives, and how they will
transcend ideas of country, religion etc. They
explored how to nurture and create digital
representations of ourselves which live on.
Lots of interesting discussion ensued around
the hacking of our digital semi-intelligent
self-representations and how these mutations
will appear.
CONTROL
The Control group took another tack

entirely. Incorporating a critical design
approach, they took a rather more extreme
stance exploring how cutting off sensorial
stimulus and human interaction could inhibit
unsustainable wants and desires. Creating a
range of fictitious accessories to cover up our
sensory receptors, the group aimed to raise
conversation around personal responsibility
for global issues such as environmental
damage and population growth, broadly
examining empathy and human connection
as a potential barrier to a sustainable lifestyle.
The outputs took the form of short
films that were screened and reviewed by
all students using Skype. Students and
staff from both universities really enjoyed
the experience - in particular valuing the
opportunity to work with people from
different disciplinary backgrounds in order
to inspire and inform their own thinking.
In fact, discussions are underway to run
a similar project between the two groups
next year and to build upon the exploration.
Project instigator Jo Morrison explains the
engagement model was also successful and
one that we will use to undertake further
international student collaborations at
the College.
media.mit.edu
vimeo.com/31505501
1
2
3
4
13
Control
Pause
Preserve
Process of working
TEXTILE FUTURES TAKES CENTRE STAGE AT

F R A N K L I N T I L L S S E C R E T S E N S O R Y S U P P E R S
Textile Futures students played an important role as the masked assistants
leading guests through a ritualistic and experiential supper as part of the series
of Secret Sensory Suppers at London Design Festival last September
SENSORY ENGAGEMENT
FranklinTill is the creative consultancy run

by Textile Futures Acting Course Director
Caroline Till. For three consecutive nights
during this years London Design Festival,
FranklinTill curated Secret Sensory Suppers,
a series of gastronomic sensory feasts in the
atmospheric Masonic Temple at the Andaz
Hotel Liverpool Street. Inviting three
creative partners to work with the renowned
Andaz chefs to create tailor-made menus
and experiential, the result was a series of
interactive evenings in which food, sound,
light and touch collided in a feast for all
the senses. Caroline Till explains Building
on the desire for experiential events that
stimulate and tantilise the senses, we wanted
to curate a series of memorable suppers
which would allow guests to participate in
an experimental adventure.
EXPERIENCE DESIGN
The second evening was entitled A Sensual

Night of Taste and Touch hosted by
Caroline Hobkinson, writer of food blog
Stirring With Knives. This experimental
and intimate dining performance, free of
conventional eating instruments, aimed to
subvert the diners interaction with food
and oblige them to reassess the way they
eat. Twenty Textile Futures students took
centre stage as masked assistants, leading
guests through a ritualistic supper in which
the diners were blindfolded to heighten their
senses of touch, taste, sound and smell. The
experience allowed students to take part in a
live project, observing user-interaction as well
as gaining insight into the behind the scenes
production process.
14
Photography by Mischa Haller
15
FORECASTING
We hope
to nurture imaginative,
resourceful designers
who have the potential
to shift existing design
boundaries and
re-shape how we live
16
17
FUTURISING SUSTAINABILITY:
YEAR 1 CURRICULUM PROJECT
In the spirit of designing for a resilient future,
issues of production, waste and post-consumption drastically
change potential design processes and outputs
The key intention of the Futurising
Sustainability project was to give students
new tools to research and filter wider
socio-cultural, environmental, economic and
political factors leading to a sophisticated
contextual approach to their work.
Futurising Sustainability formed a 2week intensive project within the autumn
term. Introducing a variety of research
methodologies including trend forecasting
and mapping of future scenarios, students
become co-developers in approaches to

relevant and sustainable design thinking.
Delivered through a combination of lectures
and workshops, the project aimed to guide
students through a range of research
processes, encouraging design work to
become more relevant in the context of
current and nascent global issues.
The project was divided into two distinct
stages. Firstly students were tasked with
researching and defining a nascent socio-
cultural trend, as well as profiling a particular

typology driving this movement. Presenting
this research and refining the key insights
students then had to formulate a brief in response
to their research and create a relevant and
sustainable design response. From this
challenging project, students gained the
understanding to look outward, consider how
wider observations can translate into creative
design proposals and consider sustainability
in new ways.
Futurising Presentation by the Failurism Group
INSTITUTIO
NAL
INSTABILIT
Y
FUTURIS
IN
G
SUSTAIN
ABILITY
:FAILURISM
RESOURCE
S
INDUSTRY
Remaking the way

we make things
Waste not want
not
Infrastructure
chasing economic
growth
Adhocism
Rebellion
Playfullness
Humour
Willingness to
Intervene
DIY
Sense of making
for self
for
imperfection
INSTITUTIO
NAL
INSTABILIT
Y
establishing
emotional
sustainability between
the user +
the product
TYPOLO
GY:
abUSER
18
SUSTAINA
BILITY
RESOURCE
S
INDUSTRY
SUSTAINA
BILITY
Sustaining a
(sub)culture by
telling a story
through
products that
archive a
specific time &
place
ENERGY DIET AT THE EDF PAVILION,

L O N D O N O LY M P I C G A M E S 2 0 1 2
A group of Central Saint Martins MA Textile Futures and MA Innovation Management
students have been selected as one of the winners of the EDF sustainable Design Challenge
competition. Their Energy Diet project will be showcased at the EDF Olympic Pavilion
London 2012
This project is a communication tool to
challenge energy usage behaviour. Our
mission is to help people understand the
true value of their energy consumption.
The rationale behind equating the
energy of electrical appliance= physical
activity= food is to help people visualise their
everyday energy consumption using food and
human activity as metaphors for appliance
energy. By using everyday scenarios, we
hope to deepen peoples understanding of
their energy usage. Our aim is to plant the
seed of awareness, thus building reflection
and, eventually, affecting energy usage. We
believe that sustainability matters and energy

should be an equal give and take. Oh dear
were off again an equal give and take
between what and what?
The project is based on the following
formula used in nutritional science:
1 food calorie = 4184/3.6 million KWH
For example: boiling water in a kettle = 52
minutes of having sex = 1 cup cake.
The Design Team: Silvia Rigoni, Diana
Kovacheva, Cho-Rog Lee, Amy Chin,
Sabatina Leccia
With thanks to Marco Federighi (UCL),
The Energy Diet pasta machine is a humorous collage

illustrating the relationship between ENERGY,
ACTIVITY and FOOD.
19
Dr. Charles Langmuir (Harvard University),

Gilles Rougon (EDF R&D), Luiza Barroso
(APCI), Jamie Brassett, Carole Collet, Kate
Goldsworthy, Caroline Till (CSM)
www.energydiet.co.uk
CRAFTING THE FUTURE

MATF Senior Lecturer Kieren Jones in collaboration
with Studio Swine
KIEREN JONES
This year Textile Futures were extremely

pleased to welcome Senior Lecturer Kieren
Jones to the course team. Kieren is a designer,
maker and researcher producing small-scale
architecture and design interventions in
response to the built environment. Widely
exhibited within renowned institutions
such as Somerset House, the Barbican, the
IABR, V&A Museum and the RSA, Kieren
is particularly interested in exploring the
position of future craft and making in the
21st Century.
THE SEA CHAIR PROJECT
Together with Studio Swine, Kieren is

currently working on The Sea Chair Project,
a research initiative that examines how
existing off-shore industries can be harnessed
to harvest, process and manufacture products
made from marine micro-debris.
In short the Sea Chair Project imagines
a fantasy future that seeks to revive the
currently declining fishing industry by
persuading fishermen to trawl for plastic
rather than fish in order to create Sea Chairs
made from waste plastic from the sea.
The project looks to raise awareness about
the growing quantities of waste plastic in
our oceans, highlighting shocking statistics
such as that the Great Pacific Garbage
Patch located in the Central North Pacific
Ocean extends over an area twice the size
of the United States and is effectively a
plastic soup of waste. At the same time
as communicating these facts the project
also looks to explore alternative economies
and ways to harness industries that are all
too often forgotten and left to falter in our
present day money and technology driven
society.
According to surveys it has been
estimated that 10% of all marine litter is
made up of micro plastic or nurdles as they
are technically known. Nurdles are pellets
of plastic that have often entered our waters
through faulty filters they have not yet been
injection moulded and are in fact perfect for
the production of plastic goods.
Using Porthtowan, a beach on the North
coast of Cornwall that has been identified
as one of the UKs most polluted beaches
20
for micro plastic, Kieren Jones and Studio

Swine have produced the first Sea Chair
made entirely from the waste plastic from
these shores. The chair carries the tag with
the precise co-ordinates of where the plastic
was gathered and its production number.
It is envisaged that these Sea Chairs could
become mass produced items by fishermen
around the world who collect, melt and
mould plastic into useful objects that can
then be sold.
To aid this process the project also sees
the invention of a series of machines that
also somewhat blur the lines between fantasy
and reality. These devices include, The
Nurdler, a sluice like contraption that is used
to sort the nurdles from the sand in order to
aid shoreline collection of micro plastic; and
The Sea Press that is envisaged to be taken
out to sea in order to melt and create the
sheets of plastic that are later cut to form
Sea Chairs.
In many ways the concept is so simple that
one wonders why it cant be implemented and
why it hasnt happened before. With the cost
of mixed recycled plastic increasing year on
year, combined with the fact that thirteen
of the worlds seventeen major fisheries have
either depleted or are in serious decline,
trawling for plastic seems an increasingly
viable alternative. However it remains to
be seen whether the project is able to make
its way into our everyday reality. In the
meantime it is hoped that a small quantity
of Sea Chairs may one day be available for
purchase!
The Sea Chair Project has won the RCAs
Sustain prize and has recently been exhibited
at Milan Design Week 2012, the Dublin
Science Gallery and the Eye Beam Gallery
in New York.
kierenjones.com
seachair.com
21
FUTURE AUTHENTIC?
First Year MATF students explore the future of Authenticity
What is the future of Authenticity? This was

the question posed to the First Year MATF
students as part of a five-week personal
project. Kicking off with a group brainstorm
and mapping session, the project aimed to
develop further the synthesis of research
and conceptual thinking into making.
The group explored a wide spectrum of
potential definitions of authenticity within
design, including the current fascination
with provenance and heritage, as well as
new ways of enabling the customization and
personalization of products. Refining their
own response to the brief, each student
formulated a research question to drive their
project.
NOSTALGIA TOOL PALETTE
Believing that a desire for authenticity

has given rise to faux-authentic products,
or skeuomorphic design, Amy Radcliffe
set out to explore the role of nostalgia in
authenticity. Aiming ultimately to test
whether authenticity can be applied to an
object through aesthetics, Amy created the
Nostalgia Tool Palette to provide a set of
rules for creating a nostalgic, and therefore
authentic design aesthetic.
Nostalgia Tool Palette by Amy Radcliffe
MANUFACTURED GEOLOGY
Yesenia Thibault-Picazo defined authenticity

as a naturally occurring process, and as such
began exploring the processing of minerals
to form rock. Concerned that our over
consumption of natural resources is causing
unprecedented change to our landscape and
making the traces of the past vanish, she
created a series of sythesised rocks and fossils,
looking to question the future of geology and
of fossils.
VIRTUAL ENDOCRINOLOGY
Helene Combal-Weiss looked to question the

authenticity of our technologically enabled
future existence versus a more primitive
human existence. Helene asserted her
concern that technology increasingly renders
us immobile in our daily routine. In order
to cope with the decline of physicality, she
proposed a series of fictitious pharmaceutical
devices delivering endorphin to our bodies to
ensure an internal feeling of wellbeing and
elation in the absence of physical movement.
Nostalgia Tool Palette by Amy Radcliffe
22
Virtual Endocrinology by Helene Combal-Weiss
Manufactured Geology by Yesenia Thibault-Picazo
23
RELEVANT
By exploring key
contextual questions
to interrogate,
critique and propose
new design concepts,
we invite our designers
to engage fully with
the challenges of
designing for the
2 1 st c e n t u r y
24
25
Priyanka Gaitonde at Nissan
GRADUATE DESTINATIONS:
TEXTILE FUTURES TAKE ON THE
CREATIVE INDUSTRIES
Textile Futures graduates take the creative industries head-on on
completion of the course, gaining experience in high-profile research residencies and
employment in the automotive and electronics industries
AMY CONGDON
Research Residency at SymbioticA, Perth.

A graduate of 2011, Amy Congdon recently
secured a highly sought after residency at
SymbioticA, University of Western Australia
in Perth. The residency took place over 3
months during which she further explored
her MA project concept Biological Atelier.
With the opportunity to learn tissue culture
techniques, Amy aimed to put her MA
research into practice and grow skin cells
on digitally embroidered scaffolds. Backing
up her hypothesis aligning craft processes
with biological tissue culturing in the lab,
Amy observed you cannot hurry cells, they
will grow in their own time. After this
thoroughly rewarding experience, Amy now
hopes to further her research with Phd study.
amycongdon.com
CELINE MARCQ
Wooden Velcro by Elaine Ng

Making waves in the automotive industry.
Graduating from Textile Futures in 2010,
Celine Marcq has recently started working
in a permanent position as designer in the
colour and trim department at Citron, Paris.
Her work as a project leader includes the
general development of colours and trims
from design idea to technical validation.
Marcq explains how she enjoys working
closely with a diverse team involved in
designing a future car from start to finish.
Being in contact with suppliers, exterior
designers, engineers and painters is an
inspiring and enriching experience. Far from
being limited in a commercial environment
Celine explains her view that creativity is
not only a question of having exciting and
frivolous ideas. Being creative is also about
finding solutions for complex problems
without having to sacrifice your original
thinking. Celine acknowledges that her
education at Textile Futures provided her
with a unique way of thinking and a range of
unexpected and distinctive textile skills.
celinemarcq.com
Amy Congdon at SymbioticA

Working in the tissue culture hood
26
PRIYANKA GAITONDE
Priyanka Gaitonde started work at Nissan

Design Europe last year immediately
after her graduation from Textile Futures.
Working as a colour and trim designer within
a multidisciplinary team, her work consists of
trend forecasting and developing concepts for
automotive interiors and exteriors. Priyanka
explains how during her time at Textile
Futures her previous technical background
in textile design was pushed to a conceptual
level and she developed the ability to think
in concepts beyond traditional textile design,
which has proven to be an invaluable skill
when working in a company like Nissan.
priyankagaitonde.com
ELAINE NG

Hand crocheted suture thread cross
section, Haematoxylin stained
Shown at 10x0.22 magnification

A Collagen soaked polyester
embroidered scaffold seeded
with SF10 cells
Shown at 10x0.22 magnification
27
TED Fellow Elaine Ng, now at

Nokia, Bejing. A graduate from Textile
Futures 2010, Elaine Ng has recently
relocated to Nokias Beijing studio. Currently
working as a senior colour and material
designer, Elaine works within a 3000-strong
studio covering the areas of marketing,
user experience, engineering and industrial
design. Elaines role involves material
research, colour matching, validating
material capability in the tooling phase,
as well as analysing product yield rates. In
addition to her full time job she continues
to pursue her MA research project Techno
Naturology, now published in numerous
books and magazines. More recently TED
Global Fellowship invited her to give a
TED talk in 2012.
elaineyanlingng.com
POSTEXTILES: A DESIGN COLLECTIVE

WITH A NEW AGENDA FOR TEXTILES
by Natsai Chieza, co-founder POSTextiles
POSTextiles is a bold collective of exuberant

textile designers from the groundbreaking
MA Textile Futures programme at Central
Saint Martins College of Arts and Design.
Established to interrogate and disseminate
what it means to be a textile designer in the
21st Century, our designers are material
craftswomen, critical thinkers, futurists,
researchers and stylists. Often described as
breaking the rules of traditional textiles, the
hybrid approach of our practice between
science, technology, philosophy and craft is
grounded in refined aesthetic sensibilities that
respond to inherent codes of textile design.
From 3-D printed textiles and augmented
reality to synthetic biology and neurocentric
textiles, our aim is to inspire the cultivation
of original ideas that make tangible the
most poignant of our social, ethical and
environmental futures.
From its inception, we have focused on
the collectives development and strategy,
building relationships with organisations
and channels through which the designers
work can be shared and utilised. Our most
recent exhibition projects include: London
Design Festival 2011 [Designersblock],
Qubique 2011 [Ventura Berlin],
Maredimoda, Cannes 2011 [Stylesight], and
Interiors 2012 Birmingham [Designersblock].
Whilst working together as POSTextiles to
produce exhibitions, we have remained very
active in our individual endeavours, amassing
between us an incredible catalogue of activities
including exhibitions, research, competitions
and commissions.
Laura Martinez and Natsai Chieza of
POSTextiles were selected to exhibit their
MA projects at iFABRIC EUROPEAN
TALENT, at the Audax Textile Museum
in Tilburg from September 2011 to January
2012. The exhibition presented a young
generation of emerging designers from
Europe with futurist agendas. Lauras
project forecasts a world where fabrics and
garments will be 3-D printed, resulting in
minimum waste, while Natsais assertion
that the future of sustainable material crafts
is biological also acknowledges that it is an
ethically challenging paradigm. Also in the
Netherlands at the Dutch Design Festival
was Jenny Lee who exhibited Immateriality:

The Future Human, a project exploring
the material re-appropriation of augmented
reality. Her growing recognition in this niche
area of design has allowed her to show at
the Kinetica Art Fair, London and at Subtle
Technology, Toronto and Direktorenhaus,
Berlin in 2012.
Members of the collective have also
begun to focus strong research ambitions.
Having barely pulled the plug on her digital
embroidery machine, Amy Congdon flew to
the University of Western Australia to begin
a three-month long residency at Symbiotica
in August 2011. The purpose of the residency
was to continue her research into how we
will use synthetic biology to grow bespoke
couture garments and accessories. Her work
in this area is ongoing and she looks forward
to making significant progress with her

experiments in the laboratory.
Miriam Ribuls core interests lie in
experiential environments and sit comfortably
within the architectural landscape. In assisting
Kate Goldsworthy with her ongoing research
project Mono Finishing, Miriam had the
opportunity to train in laser welding at The
Welding Institute in Cambridge. Laser
welding is an area whose craft potential
Miriam is keen to exploit in the future.
Also continuing her MA research into
how synthetic biology will define new
manufacturing protocol is Natsai Chieza,
who is developing novel techniques in digital
printing and dyeing using bacteria with
Professor John Ward of the Department
of Structural and Molecular Biology at
University College London. Through her
POSTextiles materials wall at Interiors 2012, Birmingham
28
work she hopes to elevate the status of

bacteria whilst encouraging an approach to
making that is inspired by developments in
science and technology.
Research at POSTextiles is a key driver
for our design work, and we revel in any
opportunity to share this beyond our active
network. The Interweave exhibition and
talks were hosted at the Victoria and Albert
Museum as part of the Economic and Social
Research Council Festival of Social Science.
Jenny Lee, Natsai Chieza, Isabel Pradilla
and Amy Congdon were invited to deliver an
industry talk on their research interests and
design methodology to a public audience at
the Museums Sackler Centre. The festival
aimed to discover how designers are using
technology, tools and textiles to explore and
affect far-reaching changes in society.
We welcome the challenge of interfacing

with the commercial landscape, and utilise
our unique view on crafts and textiles
to offer exciting adaptable solutions to
household name brands. Marie Rouillon,
Natsai Chieza of POSTextiles and Rian
Crabtree collaborated on Experience Lab,
their response to the Real beauty by design
competition brief initiated by the Unilever
Dove brand in November 2011. The panel
of judges was positively enthused at the
prospect of edible and thermocromatic Dove
soap-bars, enough to secure Experience Lab
a winning place in the competition.
Ann-Kristin Abels sublime aesthetic
identity is a transformative force across all of
POSTextiles creative pursuits. Freelancing
for FranklinTill, Ann-Kristin has been
commissioned to develop a series of props
for the colour and material inspiration

pages of the June issue of trend forecast
magazine Viewpoint. Working with nature
as co-creator as a theme, Ann-Kristin uses
her design skills to explore the material
elements of erosion and bacteria.
The breadth of knowledge of the
multifaceted design industry we have gained
through our programme leaders and visiting
lecturers at MA Textile Futures has proved
an invaluable asset to each member of the
collective. It has allowed us to establish
confidently a strong contextual platform from
which to share what POSTextiles makes. We
look forward to sharing our current research
and design work in a unique exhibition at
London Design Festival this summer and we
hope to capture your curiosity as you join us
on this journey!
POSTEXTILES
Ann-Kristin Abel
annkristinabel.com
Amy Katherine Congdon

amycongdon.com
Laura Martinez
lauramartinez.co.uk
Miriam Ribul
miriamribul.com
Natsai Audrey Chieza

natsaiaudrey.com
Jenny Lee
jennylee.org.uk
Isabel Pradilla
isabelpradilla.com
Marie Rouillon
marierouillon.com
POSTextiles workshop held at London Design Festival 2011
29
GRADUATES
2012
30
MA TEXTILE FUTURES
GRADUATES' PROJECTS
2012
PROBING FUTURES
- 32 Shamees Aden, Kerry Greville,
Alexia Mathieu, Dahea Sun, Julie
Yonehara
Projecting their research into a future scenario, these designers interrogate, critique and propose new design concepts that
fully engage with the challenges of designing for the 21st
century and beyond.
POETIC INTENTION
- 42 Lynsey Coke, Ingrid Hulskamp,
Lesley Robertson, Jennifer Yang
Aiming to promote mindful action the designers in this
group present poetic design responses to capture our
collective imaginations.
DESIGN INTERACTIONS
- 50 Langdi Lin, Adriana Machado,
Carolina Ortega, Sara Vaughn,
Cindy Wang
Adopting a human-centred approach, these designers
focus on the analogue interaction between human
and material culture.
RESILIENT DESIGN
- 60 Young Ju Do, Sabatina Leccia,
Ana Quaresma, Sophy Stoenner,
Catherine Verpoort
Led by the need to incorporate sustainable drivers at the
core of the design process, these designers explore solutions
for a more resilient future.
FUTURE CRAFT
- 70 Yiwei Bo, Coralie Bonnet, Diana Kovacheva, Charolotte Medin
Concerned with iterate design exploration
through making, these designers explore the
parameters of craft processes.
www.textilefutures.co.uk
31
32
SHAMEES ADEN
Protocells:
a new living material technology
Can the study of

Protocell principles
provoke a new
vision for future
materials?
How did textiles inform your response?
My understanding of textiles has always been the driving
force behind my work, enabling me to push my aesthetic
direction and visual language to best communicate a
complex subject matter. This project seeks to probe the
future of new materials based on the advantages of science,
harnessing these principles to build new product scenarios.
Project description:
The study of Protocells is a new and emerging science
that has the potential drastically to revolutionise future
materiality. Essentially Protocells is a form of synthetic
biology that blurs the gap between the non-living and living.
Encouraging the emergence of life from lifeless liquid
chemicals manufactured artificially in the laboratory could
provide us the building blocks to create a new man-made
nature. Through this project I seek to envisage and propose
tangible product concepts that communicate the future
potential of Protocell science.
What inspired the project?

Exploring how science could revolutionise future fabrication
and my research into the chemical make up of materials has
been a constant source of inspiration. I hope this project
will inspire rediscovery of material states and create new
experiences that could possibly open up conversations to
explore new ways of fabricating in the future.
What is the context for the project?

Advances in science will shape the future of new materials,
completely changing the look, structure, function, and
performance of future products. Harnessing the principles
of Protocells, I seek to envision new material encounters and
develop concepts and scenarios to explore this complex and
abstract subject.
We are on the cusp of a material revolution that embraces
the advantages in new science and technology. My project
aims to explore if Protocells could be a driving force in future
design scenarios. I believe science is becoming the future
designers toolbox, opening up the potential to engineer
living materials and products.
What is your vision of Textile Futures?

Textile Futures is a unique and emerging new practice
that brings a wealth of cross disciplines together to probe
the emergence of new technologies and future ideas.
Questioning social and ethical material exploration Textile
Futures asks us to question the role of the designer in an
ever-changing and turbulent future environment.
Key Words
Biochemistry, Synthetic Biology, Future Materials,
Sportswear, Poetic Expression, Materiality
Email ~ shameesaden@gmail.com
Website ~ shameesaden.com
Telephone ~ +44(0)7891893014
Photography ~ Sam Bond
With thanks to:
Martin M. Hanczyc, leading figure in the science
of Protocells
33
KERRY GREVILLE
Recycling the Dead
Can exploration of
the material potential of
the body provoke debate
around material value?
Salvage is a critical project focusing on the resource potential
of the human body after death. Through collaboration I
have explored the material possibilities and processes to
extract the chemical components from cremated remains.
As a designer I am concerned with the way we are able
to detach ourselves from the source of our resource. I am
interested in exploring the potential material possibilities of
the body and also the social implications for such responses.
Suggested within the context of the table landscape these

articles aim to communicate visually the scale of material
potential of one humans cremated ash.
Taking the body back to the molecular level and reusing
these elements for practical purposes. I hoped to question
the relationship we have with our bodies and the relationship
we have with our materials.
I feel it is important to question ourselves even when
those questions are difficult to answer.

It is my belief that the only resource we can lay claim to is
our body. Every other resource is taken without consent.
Through this project I explore the following questions:
R5-5"/'(%#(5)'5#(,-#(!&35)(-#)/-5) 5."50&/5
of resources, should we consider the material potential of our
own bodies?
R5)/&515&&)15)/,-&0-5.)5)'5.."5 ,)'5)/,5
loved ones so that their bodies could be seen as a resource?
R5)/&5)/,5,&.#)(-"#*5.)55,-)/,5"(!5# 515%(15#.-5
components were recently human?

I believe that for textiles to continue to develop we must be
prepared to look at all of the possibilities, including those
which are emotionally and socially challenging. Textiles
that fully explore resource availability should be embraced.
Choices in both material and process should be underpinned
with sustainable intent. It is important that future designers
engage with the intersections between emerging science
and technology.

Salvage explores a pragmatic approach to issues of material
scarcity, exploring how cremated remains could be utilised to
create woven textile products.
Key Words
Collaboration, Investigation, Hybrid, Synthesis,
Emergence, Adaptability
Email ~ salvage@kerrygreville.com
Website ~ kerrygreville.com
Telephone ~ +44(0)7795 832802
34
35
36
ALEXIA MATHIEU
My 24hour lover
How can textiles

help reveal and question
our obsessive behaviour
with mobile phones?
The phone is one of the most intimate and ubiquitous items
in our lives. Through observing all the various nuances of the
relationship we now build with mobile phones, I imagined
the development of this love affair through a timeline from
now until 2045. For each period of time, I have questioned
how mobile devices will have an impact on human behaviour
and vice-versa.
our understanding of textiles, I wanted to demonstrate the

strange and unusual love relationship we have developed
with our digital devices.
I am inspired by the observation of human behaviour and
how such ethnographic studies can allow us to create critical
stories to question our everyday habits, and forecast future
scenarios. I am also really interested in the paradoxical
human relationship with the fast development of technology.
While technological progression is exciting
and alluring, it is also unnerving as technology continues
to redefine and shape our lifestyles.

Technology and our craving for data shapes us mentally
and physically. Moreover, our compulsive gestures and
mesmerised state when interacting with our phone is now
common human behaviour. Without really noticing it, we
are developing an intimate and highly emotional relationship
with a technological object. This provokes the unnerving
reality that we are mixing emotions and technology as we
move towards singularity.

For me, Textile Futures could be seen as a language nurtured
from our rituals and lifestyles. I believe this language
can provoke debate around our human relationship with
objects and the environment. It can be used as a tool
to communicate and question the boundaries between
technology and us. Textile Futures can play a role in helping
to find the balance between what technology wants and
what people need.

I have used textiles as a tool to communicate the evolution
of the phone and to illustrate human behaviour. I use it as
a material language to visualise my ethnographic research,
and to envisage future scenarios. Through the highly tactile,
domestic and emotional connotations ingrained within
Key Words
Behaviour, Relationship,
Obsession, Love, Technology
Email ~ alexiamathieu@gmail.com
Website ~ alexiamathieu.com
Mobile ~ +44(0)7581441261
37
38
DAHEA SUN
Rain Palette
How can rain

indicate the quality
of the air by location
and time?
Textiles is the medium I have used to visualise my design
concept. I focused on making exquisite samples combining
traditional craft skills such as knitting, embroidery and
crochet.
Rain Palette aims to provide an easy and poetic approach
to visualising air quality through rainwater. The garments I
have developed are dyed with natural dye that will change
colour in reaction to the pH levels of rainwater. This project
aims to provide an at-a-glance indication of atmospheric air
quality, with the potential for wearers to record and upload
rain pH readings online to create a global database of realtime environmental data.

When I lived in South Korea, I would hear of acid rain in
weather forecasts. After the devastating earthquake and
tsunami in Japan, on a rainy day people were particularly
fearful of radiation rain.

Rainwater has different pH levels depending on the
particles of the air. Acid rain is still an especially serious
environmental issue. As well as indicating the pH levels of
rainwater this project aims to communicate an important
message about the quality of the air we breathe.

My vision of textile futures is a mixture of traditional craft
skills, advancing technologies and innovative thinking.
Key Words
Acid Rain, pH Indicator, Air Quality,
Anthocyanin, Colour Change,
Data Collection, Rain Coat
Email ~ sdh0306@gmail.com
Website ~ sundahea.com
Mobile ~ +44(0)7716391845
Fashion design ~ Ga Yeon Lee
Photography ~ Hee Woong Park
With thanks to:
John Nussey (UCL) for technical support
39
40
JULIE YONEHARA
The Transformative Chronotype
How can I
manipulate the human
circadian rhythm through
light and colour?
My project was informed by smart surfaces, which enables
the user to manipulate states of stimulation and sedation.
This includes light filters inspired by the intricate patterns
of lace, as well as the physical and tactile responses of
various materials.
The Transformative Chronotype is a collection of objects,
which explores the future of manipulating the human
circadian rhythm. Fitting into the users daily routine of
preparing for the day and winding down at night, it is
aimed to alter the body according to individual needs for
stimulation and sedation.

I was inspired by my own disrupted circadian rhythm,
which occurred while moving to London. This ultimately
manifested itself into abnormal sleep hours, seasonal
affective disorder, and finally the curiosity of how light and
dark cycles affect the body.

The circadian rhythm is a 24-hour internal clock
determined by cycles of light and dark and the red and
blue colour spectrum. This biological clock determined by
the environment regulates the physical and behavioural
processes of all living systems. We have harnessed artificial
light to fit our increasing activities lengthening our day.
As a result, our relationship with light and dark has become
similar to that of stimulants and sedatives - manipulating
our bodies to accommodate the needs of our busy lifestyles.

Bio intuitive and reactive surfaces and products, which create
sublime functional capabilities.
Key Words
Circadian Rhythm, Biology, Manipulation,
Product, Light, Experience, Slow Design,
Interaction
Email ~ jyonehara@gmail.com
Website ~ cargocollective.com/jyonehara
Mobile ~ +44(0)7561295324
41
42
LYNSEY COKE
Random methods:
Exploring processes for randomising design
Can randomised
design processes
result in innovative
design output?
Heavily inspired by the Surrealist movement and the
philosophy of the Situationists International, I became
enthralled by the concept of the unknown, uncertainty
and randomness. Neville Brody, the controversial graphic
designer and art director of The Face magazine, has
always been a key inspiration for my work. He continually
manages to subvert the rules of graphic design and create
visual extensions of his philosophy relating to failure and
contradictory aesthetics.
Aiming to explore and question a recognised design process,
I have created a series of rules for looking to diminish
ultimate control from the designer, and therefore generate a
more randomised output. Using designed rules to dictate the
sourcing and application of material, and the final context of
design articles, I aim to use my skills as a designer and stylist to
respond to randomised scenarios and create unexpected results.
Inspired by the book The Black Swan by Nassim N.Taleb,
which encourages us to take advantage of uncertainty, I believe
randomised processes, which remove conscious and strategic
decision-making, can result in more innovative output.

I believe the line between design specialisms will become
even more blurred and the boundaries of textiles will be
pushed, creating further scope for cross-pollination.
Process driven design will continue to gather momentum,
as we will look for ways to produce more meaningful design
articles that resonate with our desire to tell and hear stories.

Everyday objects must be shown to him with totally
unexpected perspectives and in unexpected situations.
Alexander Rodchenko
Using designed rules to dictate the sourcing and
application of material, and the final context of design
articles, I fully utilised my skills as a textile designer and
stylist to find ways to join, melt and bond materials and
forms, reinterpreting materials to redefine completely
their context.
Key Words
Uncertainty, Hybrid, Failure, Process,
Control, Random
Email ~ lynseycoke1@gmail.com
Website ~ cokelove.co.uk
Mobile ~ +44(0)7966937779
Photography ~ Leoni Blue
Make-up ~ Lesley Vye
43
INGRID HULSKAMP
Daily Poetry:
Catching a moment in time
How can objects and

materials inspire time
for contemplation?

Textiles provide us with different sensorial experiences.
For this project I have created three different types of
contemplative tools: a tactile experience using hand-blown
glass, wood and brass plated pink gold; a visual experience
using coloured pigments in different sorts of liquids; a sound
experience through the movement of water.
To pursue time for daily contemplation in an intuitive way,
I have developed a series of contemplative toys for adults. The
objects remind us of the candid fun we had as a child, when
we fully got caught up in the moment.
In this highly demanding, hurried digital era we are
challenged with endless choices and obligations. Even
time for relaxation has become an obligation in itself. The
popularity of mindful activities such as yoga and relaxation
classes nowadays is an evident answer to the overload of
external stimuli we have to cope with. In my opinion time
for contemplation should not be another obligation but a
joyful and poetic moment that is naturally integrated in
daily life.

The simple wonders in life that catch our attention, like the
glittering reflections of the sun in the water, informed the
start of my project. Furthermore the open-mindedness of
young children and the ability to be enchanted have inspired
the project.
For me Textile Futures is all about awareness, and cultivating
awareness of our relationship with materials. My focus in
achieving this is to stimulate mindfulness through design in
a poetic, playful and positive manner.
Key Words
Poetic, Playful, Positivity, Mindfulness,
Contemplation, Experience, Flow, Time, Simplicity
Email ~ ingridhulskamp@gmail.com
Website ~ ingridhulskamp.com
Mobile ~ +44(0)7584358843
44
45
46
LESLEY ROBERTSON
The Morning Collection
How can our

daily morning rituals
inspire a new process in
the design of a textile
print collection?
Through the visualisation of my daily morning rituals I aim
to create a poetic and playful print collection. Recording my
morning routine actions and experiences through drawing,
colour and photography I have developed a series of prints
onto morning products.
silk jersey. I have also explored digital print applications on

fabric, plastic and ceramics and have used laser etching and
cutting on leather.
I am interested in our daily routines and life patterns, and
their inextricable link to our personal identity. I wanted to
visualise my own daily routine in particular my morning
rituals using a hyper-personal approach and attention to
detail and colour.

Commercially viable textile collections are generally
developed with one specific market in mind be it fashion
or interiors. Collections are bound by harmony in colour
or pattern. I aim to suggest a new way of considering a
commercial product collection, uniting articles through
the time and routine in which we use them.
I have experimented with hand dye and print techniques on
to a variety of fabrics including linen, cotton towelling and

New print concepts that continue to challenge the
conventional notion of a textile collection, and new
manifestations of personalisation in design.
Key Words
Identity, Ritual, Habit, Pattern, Aesthetic,
Colour, Line and Order
Email ~ lesleyjrob@hotmail.com
Website ~ lesleyjrobertson.com
Mobile ~ +44(0)7890690521
47
48
JENNIFER YANG
Secret Rainbow
How can textiles

interact with sunlight
to create a magical
sensation and bring an
element of surprise to
daily life?
My project explores how textile surfaces can interact with
sunlight to evoke magical sensations, a collection of backlit
curtains that reveal a fairytale world when the sun rises. I
aim to create textiles that encompass a sense of surprise and
curiosity, uncovering new pattern and colour when hit by
different light levels.

I am inspired by everyday beauty, the shadows from a glass
of water through sunlight, the rainbow colours of shadows
through a window, the patterns that reflect on the wall or
the floor. I am fascinated with all these hidden beauties in
everyday life.

Sunlight is a key ingredient of our everyday well-being and
emotional positivity, it has been so throughout history and is
embodied in mythology throughout cultures worldwide.

My vision of Textile Futures relates to human sustainability.
I believe wellbeing and happiness can also be influenced
and enhanced by our surroundings.Textiles are no longer
only for visual aesthetic appreciation, but can also play an
important part in our positive mental well-being.

Textiles has allowed me to rethink our living surroundings,
and this has led me to identify the potential for innovative
changes to the purpose of curtains.
Key Words
Happiness, Magical Surprise, Fairytale
Storytelling, Sunlight, Poetic Expression,
Communication, Interactive Experiences
Email ~ chin_han512@hotmail.com
Website ~ jennifer-yang.com
Telephone ~ +44(0)7540875663
Photography ~ Hyun-Wook Lee
49
LANGDI LIN
Blooming Body
How can body

movement bring a
new perspective
to transformable
textiles?
I use textiles as a tool to interact with body movement
to create dynamic garments. I worked with a range of
techniques to engineer transformative textiles including
origami, laser cutting and screen-printing.
My project aims to combine human body movement with the
experimentation and manipulation of different transformative
materials. Generating textiles that can move and change
through manual interaction, I hope to engineer garments
that look to exploit specific areas of body movement to create
unexpected material transformation.

I am continually inspired by the poetic expression of
mysterious intangible forces such as magic and religion.
What is the context for the project?:

Inspired by high-tech material innovation within the fashion
industry I aim to provide a low-tech, analogue interpretation
of transformable textiles. looking to forge a new relationship
between textile and fashion design.

Textile Futures for me is about material exploration, which
is not only focused on high-tech, smart innovation, but also
analogue, low-tech material invention.
Key Words
Low-tech, Transformable, Body,
Movement, Dynamic
Email ~ mlangdi@hotmail.com
Website ~ wix.com/mlangdi/ldlin
Mobile ~ +44(0)7703511350
Photography ~ Ying Wei Tang
50
51
52
ADRIANA MACHADO
Remember This Feeling
Can textiles
bring positive
sensory stimulation
to Alzheimers
patients?
Touch is the first sense that develops in our brain when we
are born; it is also the most powerful, long-lasting form
of communication when we grow older, particularly when
our other senses start to fail. Using textiles as a medium
to stimulate and create a wide range of positive sensory
experiences was my main aim for this project.
Within this project I aim to explore if textiles can bring
positive sensory stimulation to Alzheimers patients.
Taking common, everyday objects familiar to the individual
Alzheimers sufferer and reinterpreting them in scale and
tactility I aim to design sensory experiences momentarily to
alleviate stress and anxiety, promoting short-term positivity
and calm.

My greatest inspiration for this project was my grandmother.
When she developed Alzheimers disease it was heartbreaking watching a very tenacious, creative and talented
woman fade away. My grandmother inspired me to design
for a more extreme user who is often ignored.

30 million people suffer from Alzheimers disease worldwide,
and yet this condition and its symptoms are still unfamiliar
to many people. Alzheimers patients not only suffer from
memory loss but also experience a great deal of stress and
anxiety. Tactile objects are often used as therapeutic aids
to treat Alzheimers symptoms, however such objects are
generally designed for children with learning difficulties and
autism and later adapted for adults. My desire was to design
an object specifically for Alzheimers patients, considering
their needs and condition.

My vision of Textile Futures is a world of never-ending
possibilities, where through careful research and
collaboration with a user, textiles can be used to make
the world a better place.
Key Words
Alzheimers Disease, Memory, Feelings,
Sensory Stimulation.
Email ~ adrimachado05@hotmail.com
Telephone ~ +44 (0)7530 029686 / +57 4 230 30 04
Many thanks to Diana Barbosa, Simona Florio and
all the users from the Healthy Living Club at Lingham
Court in Stockwell, London.
53
CAROLINA ORTEGA
Move Now
How can design

enhance wellbeing by
promoting body movement
in a sedentary working
place?
Concern for the large number of illnesses that we cannot
yet control or cure have led me to the constant search for
a healthy way of life. I consider that to be healthy is not
only about eating well and exercising. It has to do with the
relation between our body and mind. I strongly believe that
movement is a place where these two meet.
This project aims to promote repetitive unconscious
movements within the workplace in order to help promote
a healthy body and mind.
What is the context for the project?:
Most people believe that eating well and exercising will
reduce the chances of illness and obesity. However research
shows that leading a sedentary way of life, i.e. spending
around 6-8 hours working while sitting in front of a screen,
can counteract such good intentions.
Humans are designed to move. Movement is fundamental
to the proper functioning of the brain and body; increasing
metabolism to speed up our blood flow. As a result we think,
remember, feel and perform better.

I see textiles as very powerful materials that can be shaped
and applied to almost everything. I believe the future of
textiles is linked to the development of materials that can help
produce a sense of healing and wellbeing.

I have used textiles as a way to reinterpret office furniture
aiming to bring a sense of play to the work place, encouraging
people to interact more with the objects around them so they
move more often.
Key Words
Movement, Furniture, Wellbeing
Email ~ cortegacabrera@gmail.com
Website ~ carolina-ortega.com
Mobile ~ +44 (0)7527130601
Photography ~ Alejandro Mndez
54
55
56
SARA VAUGHN
People Power
How can textile

design communicate
materials and structures
that question the
kinesthetic relationship
between design
and user?
From a somatic point of view, the design of the body,
kinesthetic learning, the dance arts, integrative and bodymind centred movement techniques such as the Feldenkrais
Method, the Alexander Technique and Yoga. From a design
perspective, projects such as the Active Design Guidelines
of New York City, concepts such as living ergonomics, and
companies such as Urban Movement Design. The work of
Maria Blaisse, Issey Miyake and Lucy McRae.
My work explores the potential for textile design to
induce body movement. I aim to question the kinesthetic
relationship between design and user, garment and wearer,
material and sensory receiver.
My starting point is human sustainability. The human body
is designed for movement, yet movement has been and is to a
great extent being designed out of our lives. In combination
with sedentary lifestyles and working conditions, and
consequently increasing health impacts, it is increasingly
pertinent to consider the impact of design on our movement
levels and patterns, and equally exciting to consider the
potential of design to lead to innovation in this area.

In my view, the need to create environmentally and
economically sustainable societies is interlinked with the
need to attend to human sustainability. My vision of Textile
Futures is linked to the promotion of human sustainability
through design, in particular with relation to health and
physical activity. I believe that a critical and unconventional
textile point of view is important and valuable to this area
of research.

Textiles place the idea of inducing body movement in a
very tactile and personal space. The concept of textiles that
we wear on and close to the body has many connotations,
and interesting questions arise from asking what somatic
experience can a textile provide for its user? Textiles also
informed my response through material and characteristic
exploration, and through the projection of textile techniques
onto body movement.
Key Words
Human Sustainability, Kinesthetic Senses, Body
Movement, Living Ergonomics, Active Design
Email ~ sara@saravaughn.se
Website ~ saravaughn.se
Mobile ~ +46 (0)70 6494288
With thanks to:
Gradko International Ltd, Gertrud och Sner AB,
Tobex AB, Lina Artman, Julia Korning
57
CINDY WANG
Material Symphony
How can I engineer

sound in textiles
through traditional craft
technologies to evoke an
emotional response?
I aim to engineer textiles through traditional craft techniques
to produce unexpected sounds. Extending the application
of my materials to the art of physical performance, I aim to
encourage an appreciation of possibilities in textiles beyond
the visual and tactile a third sonic dimension.
materials, textiles acquire new sonic qualities that can be

developed creatively. I can also make use of the appearance
of textiles to misdirect my audiences expectations of the
sound produced.
The initial inspiration for the project was a desire to recreate
the comforting feeling of environmental sounds. I also
gathered inspiration from the materials and sounds that
surround us.

Sound is the sense with the strongest evocative power and
a considerable emotional trigger. Our environment is full
of sound but as yet is seldom deliberately produced within
textiles and fashion. Indeed textiles are often used to suppress
sound. I wish to celebrate the sounds that textiles can make
and invoke an element of joy and surprise.

I consider that the future of textiles is linked to physical
feeling and emotional experience. I aim to bring a new
appreciation of sound into textile design, and invite the
audience to see the field of textile design from a different
angle and to appreciate the sonic potential of textiles.

I have found that many textiles, individually and in
combination, have a sonic quality that can be overlooked.
By experimenting with a variety of materials and techniques
I have enhanced existing sounds and found ways to produce
new combinations of sound. In conjunction with other
Key Words
Sound, Traditional Craft, Environment, Emotion,
Surprise, Performance
Email ~ feifo518@hotmail.com
Mobile ~ +44(0)7584620058
With special thanks to
Musician ~ Alain De Valois
Photography ~ Alejandro Cavallo
Dancer ~ Ching Cheng
58
59
YOUNG JU DO
Compostable Accessories
How can
biodegradability
be considered
as a key design
feature?
Most biodegradable products can only degrade in an
industrial composting facility. The aim of this project
is to createhome-degradable and biologically nutritious
jewellery and accessories. These are created from organic
materials that, once used, can decompose into the natural
environment, providing food for bacteria and microbiological
life. Compostable Accessories include a carefully balanced
composition of brown and green bio matter, designed to
achieve optimum compostbility. Aiming to provide a simple
and sustainable solution without compromising aesthetics
this collection prompts people to take a fresh lookat the value
of short-term use.
robustness and strength with excellent biodegradability. I

used textile techniques such as crochet and knitting to act
as joining and fastening mechanisms.

I was inspired my concept byWaste need not exist at all
which is the notion of the book Cradle to Cradle. My
design direction comes from modern geometric shapes as
found in areas such as modern architecture. My aim is to give
my accessories a contemporary aesthetic for my target market.
My vision of Textile Futures is that textiles and nature
can definitely go together. The choices on material and ecofriendly production processes are very important. All natural
resources can be materials such as food and micro-organisms
like re-directing materials from nature. Also, the cradle to
cradle cycle is very important for Textile Futures. This
cycle will create a new kind of throwaway culture and a
new value for short-term use, because the use of organic
materials without chemicals will create transient textiles
such as compostable, biodegradable or edible. But in the
future, these kinds of goods will break down naturally in
the domestic base, not in the industrial system.

In the context of increasing global population and faster
consumption patterns waste is a serious global issue.
Biodegradable products currently on the market still need to
be collected by an industrial facility to degrade. My project
looks to encourage home compostable products, encouraging
transient design as potentially a more sustainable solution.
Using my skills as a material and textile designer I created my
own bio-plasticsfrom edible food material.I experimented
widely until I came up with the optimum recipe that balances
Key Words
Sustainability, Eco-friendly, Cradle to Cradle,
Biodegradable, Home-Compostable, Bio-plastic,
Throwaway Culture.
Email ~ ju.youngjudo@gmail.com
Website ~ art-ju.com
Telephone ~ +44 (0)7824829076
Photographer ~ Hee Woong Park
Model ~ Evie Armstrong-Clarke
Make-up & hair ~ vivi ahn
Garments ~ Emmi Kwon
60
61
SABATINA LECCIA
Eat the world up
How
can textiles
express our rapid
consumption
of the planets
resources?
My work is a visual metaphor aiming to communicate
thatwe are consuming too much too fast. Through the
invention and reinterpretation of existing objects I have
created two product collections, each one designed to
visualise a specific set of data or specific material scenario.
Through exploring methods of designed destruction and
removing calculated portions of material I aim also to
question if we can design in a more material-efficient way.

My textile craft skills informed my process of designed
destruction, using the found objects as a base cloth to
explore various techniques and processes to remove
material whilst still retaining the objects function.

In a time of unparalleled material scarcity and increasing
population I hope to use design as a communicative vehicle
to visualise the urgent need to reconsider the patterns
and speed of our consumption, and bring these broader
global issues closer to home. My projectis located within
the table landscape, aiming to underline the notion we
areeatingourplanets resources.

For me Textile Futures is an open minded field that
questionsthe world in which we livein a poetic, radical,
and innovative way. Textile Futures promotes awareness
of sustainable issues and uses textiles and design to
communicate pertinent issues.

For this project I was inspired by the beauty and fragility
of natural resources.
Key Words
Fragility of the Planet Resources, Collapse, Destruction,
Sustainability, Table Landscape, Society
Email ~ sabatinaleccia@hotmail.fr
Website ~ www.sabatinaleccia.com
Telephone ~ +44(0)7440447613
62
63
ANA HM QUARESMA
Uplastic The Future
of Materialisation
What is
the future
of plastic in
a post-oil
dependency
era?
Plastic is currently considered a throw-away material of low
value. I however believe in a post-oil dependency era this
perception will eventually change and consequently plastic
will be regarded as a precious and valuable material.
Future plastic will not immediately originate from its rawresource; but instead from another cycle of existing plastic
generation - a closed loop model. Processing plastic while
upcycling is the future of this precious multi-functional
material.
Considering escalating oil prices and the proximity of
peak-oil, my project sets out to question how will we sustain
our dependency on plastic, so crucial for todays innovation
and wellbeing? What is the future of Plastics in a postoil era?
The Uplastic Project proposes to celebrate the cyclical
capability of plastic by shredding and applying upcycled
plastic particles to a recycled polyester base through the
application of heat. Plastic garments can then be shredded
after use to be bonded together to create new garments, and
so the process goes on Plastic will be an ever-continuous
cycled material.

A transformation and rejection of the unconsidered,
bringing forth a renewal of a possible future design
perspective in a process of conscious and creative
distinction.
Key words
Closed-Loop,Transformation,
Revalue, Precious, Post-Oil
Email ~ anahmq@gmail.com
Website ~ spacialloophole.com
Telephone ~ +44(0)79 079 540 70
I would like to thank for their support.
Weima UK and Teijin.
64
65
SOPHY STOENNER
Real Fake Fur
100% Alive
How can you

create an authentic,
luxury alternative
to fur?
My analysis showed that research and development in the
production of fur has stagnated and that fur is still sourced in
the traditional, animal-cruel way. I chose to employ various
methods including lace making, crochet and laser cutting in
order to create authentic luxury alternatives to real fur.
My research has shown that fur trimmings are currently
the main cause of the recent revival of the fur market. This
inspired me to explore potential animal-friendly alternatives
so that we can still enjoy wearing fur without animals having
to suffer. Collecting animal hair that has been naturally
shed, combed-out, cut or shaved-off from unexpected
sources, I create ethical and luxury alternatives to traditional
fur trimmings, using techniques including hair extensions
and lace making.

My love of animals and the low level of awareness of
consumers wearing fur inspired this project. An internship at
a zoo allowed me to work with different animals and to gain
insight into fur as a natural material. I was enthusiastic about
the idea of benefiting from the look and touch of animal hair
without harming the animal.
What is the context for the project? :

Even small fur trim applications result in animals dying
for their fur. My research has shown the smaller the fur
application is, the less it weighs upon the consumers
conscience. I wanted to take advantage of the seasonal
shedding of animals to create sustainable fur applications,
adding a new level of emotional resonance between product
and consumer, using labelling to tell a story of the animal
which is still 100% Alive.
I chose to let my design aesthetics be influenced by the
style of the 1920s when fur garments were a must-have.

I see Textile Futures as an interface of science, technology
and design. With my latest work I want to show sustainable
alternatives very close to traditional fur. The approach of TF
enabled me to create these new solutions for the sourcing
and processing of animal hair. This contribution can help
the fur industry to rethink fur. I can see how TF accelerates
the development of an animal friendly fur industry by the
creation of new processes and materials. This enables TF to
keep on creating innovative and sound solutions to a broad
field of research questions with sustainable natural materials.
Key Words
Authenticity, Animal-friendly, Exotic, Fur Fashion, Luxury,
Natural, Re-thinking, Sustainable Fur, Trimming
Email ~ Sophy@RealFakeFur.com
Website ~ RealFakeFur.com
Telephone ~ +44 (0) 750 8747317 / +49 (0) 170 8360026
66
67
68
CATHERINE VERPOORT
Urban Insect Habitats
What role can

textiles play in
supporting ladybirds
within the urban
environment?
Ladybirds are a known as a gardeners best friend and play a
key role in controlling common pests. However numbers are
in decline, due in part to the lack of appropriate hibernating
spaces within an urban environment.
This project explores how textile landscapes might
encourage the survival and thriving of the ladybird in
urban environments, and further recognise their valuable
contribution to organic gardening.

Natural, environmentally friendly materials and textile
techniques enabled me to create fully functional habitats
for ladybirds, which underline the idea of bringing natural
elements back into the urban landscape.
I find the complexity and resilience of nature to adapt and
sustain itself very inspiring. In my eyes nature perfectly
balances out functionality, simplicity, uniqueness and beauty.
Being a true urbanite myself, who also enjoys seeing more
rural, natural landscapes in the city, I wanted to explore how
I could contribute and share this passion with others.

Many insects now seek nourishment and shelter in cities
due to loss of habitat in the countryside. Due to overmaintenance of public parks and private gardens in cities,
generally insufficient territorial space is left available for
insects. As natural pollinators, bio-degrading systems
and pest controllers, insects play a significant role in
balancing out the ecosystems of our cities as well as building
sustainable environments.
As well as contributing to a more sustainable local
ecosystem and creating a balanced urban wildlife population,
gardening can also support the well-being of those involved
and improve living standards in those areas with maintained
green spaces.

Textile Futures for me is a field that merges technology,
craft, knowledge and imagination. It gives the opportunity
to evaluate, question and shape the future we will be living
in. Textile and material development is essential in turning
these ideas into a tangible and functional reality.
Key Words
Biodiversity, Wildlife, Preservation, Habitat, Urban
Countryside, Communication, Craft, Gardening
Email ~ c.verpoort@gmx.net
Website ~ cverpoort.com
Telephone ~ +44(0)7586037555
Photographer ~ Christina Theisen
69
YIWEI BO
Textile Skin
How can
skin be a tool
to inform textile
design?
The tactility and evolution of our skin with age has greatly
inspired my project as well as imperfection and patterns that
record our daily lives including imprints, bruises, marks and
blemishes.
My project aims to explore how the material and aesthetic
qualities of human skin can inspire and inform textile
design.
Numerous contemporary designers and artists utilise skin
as their muse. An intense fascination with our own bodies
continues to drive material and aesthetic representations of
skin surfaces. Through combining flesh-inspired materials
with traditional craft processes such as shibori and tie-dye I
aim to create a collection of human-inspired textiles.

Textile Futures encourages me to explore existing crafts
in combination with previously unexplored processes and
materials, as well as encouraging me to challenge the
aesthetic of traditional textile design.

Aligning traditional shibori patterns with the daily marks
on our skin, I drew inspiration from the similarity between
shibori patterns and the traces and marks on our skin.
Key Words
Skin, Reinvention, Craft,
Imperfection, Imprint
Email ~ yiwei.byw@gmail.com
Telephone ~ +44 (0)7411937525
70
71
CORALIE BONNET
Embroidery Exploration
How can new material

combinations reinterpret
traditional embroidery
techniques?
This project aims to renew and revive traditional embroidery
techniques to form a new approach to the craft, using
unexpected materials and surfaces. I aim to provoke the
viewers curiosity and consequently, change the perception
of embroidery.
origins and legacy of past designs and designers. This project

aims to add a new dimension to a traditional craft technique.
I have used a range of needlework techniques including
traditional needle embroidery, knitting, haute couture
embroidery and tapestry in combination with wooden,
metal and ceramic surfaces.

French Haute Couture embroidery is the trademark of
companies like Lesage. What sets it apart from other forms
of embroidery is the techniques that are employed as well as
the variety of materials used in the process of embellishment.
Embroidery is not just the art of embellishing clothing,
but can be applied to unusual and everyday surfaces, as
well as being scaled up in order to give a tactile, decorative
and innovative dimension to a whole surface. I am very
concerned by our diminishing knowledge of traditional
textile crafts and their associated skills. While I do not
believe that traditional embroidery techniques and products
will disappear, realistically speaking it is true that fewer
people know proper, manual embroidery techniques and
that the machine has replaced human hands. The context of
embroidery can be challenged while remaining true to the

This project has been inspired by traditional embroidery
and needlework techniques, and the application of this
craft within a new context. I aim to celebrate the inevitable
imperfections that result from a hand-crafted process.
My vision of Textile Futures is a re-evaluation and
reinterpretation of materials, traditional textile skills and
craft techniques. I think it is important to preserve and
archive textile traditions. I believe the authenticity and
humanised tactility of craft processes become increasingly
important in a digital world.
Key Words
Craft, Embroidery, Material , Ceramic, Handmade,
Needle Work, Experience, Surfaces, Tradition,
Reinterpretation, Craft Preservation
Email ~ coralie_bonnet@hotmail.fr
Website ~ coraliebonnet.com / coraliebonnet.tumblr.com
Mobile ~ +44(0)7814295618
72
73
74
DIANA KOVACHEVA
INSTINCTELLECT:
A vocabulary of human intuition
How can the

understanding of our
intuitive behaviour
be revealed and
explored through
materiality?
Unlike intellect, which relates to what we think we should
do, intuition involves what feels right. Human interactions
are driven by inbuilt instincts, life experiences, cultural
background, gender or common sense. But which holds
the greatest sway? Through material exploration and an
ethnographic diary of photography, INSTINCTELLECT
introduces a visual vocabulary of our intuitive actions,
revealing how a level deeper than logic drives our response
to objects and materials.
The use of materials was my medium to study and reveal

behaviours, offering insight into human nature. I worked
with a wide spectrum of materials and techniques, including
laser cut, screen print, folding and knitting.
We are living in a unique time where new interactions
and experiences are becoming the norm due to touch
screen technology and the web. We write less and the
use of the mouse or swipe pad is becoming instinctual.
INSTINCTELLECT is a research-based project that
questions our built-in habits and actions and looks to how
deeply ingrained and evolved they are. Curiosity as to human
evolution and technology triggered this project to explore the
balance between control and decision-making.

Rather than exploring the aesthetics of haptics,
INSTINCTELLECT explores the why of decision making
when confronted with a particular object, material or form.
Looking to assess how and why we make decisions on a daily
basis such as to make use of space in particular ways or to
perform specific gestures, my work reveals instinctual vs.
learned behavioural patterns. This project questions whether
such actions are expressed without a contextual or emotional
understanding.

I believe that design will always reflect human nature, in
both the present and the future. I see future textile design
as a research discipline, which will intertwine culture and
tradition, technological change and human needs in exciting
new ways. Textiles are a powerful tool to communicate,
inspire and provoke thought.

Textile design traditionally provides the tools to engineer a
whole range of physical experiences and user responses.
Key Words
Intuition, Human Behaviour, Evolution,
Interaction, Material Exploration, User Experience
Email ~ info@dianakovacheva.com
Website ~ cargocollective.com/dianakovacheva
Telephone ~ +44 (0) 7500 908 917
75
CHARLOTTE MEDIN
Textile Consequences
How can the

juxtaposition of
materials and
processes formulate
a new textile
craft?
The project looks to investigate whether new craft processes
Playing upon combined tactile qualities, material behaviours
can be formulated using a designed craft matrix. Mapping
and analogue processes, I used textiles as a tool to invent and
familiar craft actions against materials within a grid
develop unusual crafted products by hand.
matrix, I hope to use this process to generate unexpected
combinations, therefore approaching materials and processes What inspired the project?
in an unrehearsed and intuitive manner through a series
Approaching the project by focusing on the process by which
of experiments.
something is made is what initially inspired my work. I was
inspired by how hand-crafted processes can evoke a more

poetic and serendipitous approach through exploration,
Traditionally, craft skills and knowledge are passed down
developing products that cannot be replicated precisely in a
from person to person, using a series of processes and
mass manufactured context.
skills for manipulating material. This is no longer the
only approach to designing and acquiring knowledge in a

post-disciplinary era. Information can be obtained if and
Textile Futures is a way of communicating concepts
when needed, and learning in ways that were previously
through craft. For me, it offers the freedom to combine
impossible. Access to both contemporary and traditional
material and process to redefine and reinvent craft processes.
methods of working has shaped a diverse and innovative
Experimentation and new methods of working allowed
craft landscape with an endless horizon. With so much
me to discover potential material combinations previously
choice and no boundaries, I wanted to find a way of gaining
unexplored within this field, pushing the boundaries of what
control in a world with no limitations. Designing a craft
a textile can be.
matrix system, a formula for generating new techniques
and processes, I hope to formulate an organised method of
experimentation leading to a new craft innovation.
Key Words
Reinvented Craft, Hybrids, Materiality,
Formula and Exploration
Email: clmedin@yahoo.com
Website: charlottemedin.com
Telephone: +44 (0)7805724683
With thanks to Pittards
76
77
Written, edited and complied by the

Textile Futures team
Caroline Till , Kieren Jones, Carole Collet, Kate
Goldsworthy & Ann-Kristin Abel
www.textilefutures.co.uk
Designed by
Michael Knight
www.michaeljknight.co.uk
Printed by
Orchid Print
www.orchidprint.com
78

MA Textile Futures Catalogue

Caricato da

Informazioni sul documento

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

MA Textile Futures Catalogue

Caricato da

Copyright:

Formati disponibili

BREAKING GROUND

Our first year MA Textile Futures designers

can be produced and to illustrate mankinds

prototype them as artistic experiments in living

Photography by Mischa Haller

My main research concerns our future

world. The Craig Venter Institute is a

information systems and this creates a new

Computer Aided Design

Computer Aided Biofacturing

DESIGN AND ETHICS:

A whole new panorama of possibilities is

SYNTHETIC BIOLOGY AND

Until very recently, biologists have been

Computer Aided Manufacturing

technologies, it is also crucial that we question

As a mean to investigate the promises and

sustainable challenges of the 21st century.

Stawberry Lace by Carole Collet

showcased at Futuro Textile 3 opening in

TEXTILE FUTURES: CUTTING

innovation and alterations in human

work Laerke looks into a future in which

Graduating from Textile Futures in 2008

Laerke Hooge Andersen graduated from

Tectonic Textiles by Aurlie Moss

Berit Greinke is currently pursuing a PhD

Marin Sawa has recently received the

Algaerium Pods by Marin Sawa

Laerke Hooge Andersen and Ulrik Martin Larsen

TEXTILE FUTURES MEETS

The collaboration between students from

The Escape, or Fermata group explored

The Preserve group were interested in

The Control group took another tack

TEXTILE FUTURES TAKES CENTRE STAGE AT

FranklinTill is the creative consultancy run

The second evening was entitled A Sensual

Photography by Mischa Haller

become co-developers in approaches to

cultural trend, as well as profiling a particular

Futurising Presentation by the Failurism Group

Remaking the way

ENERGY DIET AT THE EDF PAVILION,

believe that sustainability matters and energy

The Energy Diet pasta machine is a humorous collage

Dr. Charles Langmuir (Harvard University),

CRAFTING THE FUTURE

This year Textile Futures were extremely

Together with Studio Swine, Kieren is

for micro plastic, Kieren Jones and Studio

What is the future of Authenticity? This was

Believing that a desire for authenticity

Nostalgia Tool Palette by Amy Radcliffe

Yesenia Thibault-Picazo defined authenticity

Helene Combal-Weiss looked to question the

Nostalgia Tool Palette by Amy Radcliffe

Virtual Endocrinology by Helene Combal-Weiss

Manufactured Geology by Yesenia Thibault-Picazo

Priyanka Gaitonde at Nissan

Research Residency at SymbioticA, Perth.

Wooden Velcro by Elaine Ng

Amy Congdon at SymbioticA

Priyanka Gaitonde started work at Nissan