The future of sustainability will be in simplifying objects and processes to reduce material waste. As such, my intention is to make garments from one process, which would reduce the material waste and carbon footprint of a product. The objective of this project is to challenge and resolve issues concerning sustainability and manufacturing within the textile industry. I propose to do this by changing the way fabric and fashion are manufactured and fuse the two processes into one by utilising current technologies and a new approach to production.
Globalisation has become an unstoppable force, however, sustainability has a cultural perception of being a niche and a local market. My intention is to address these issues within the fashion and textile industry by developing sustainable and ethical products, which can be mass-produced.
During my Master’s degree at the Royal College of Art I have been constructing complete garments through weaving, which do not require any further construction processes once woven, meaning sewing is not necessary. Once off the loom the garment is cut from the fabric and turned inside out leaving minimal waste. The garments are shaped through weave structure and material choice. The yarns should be synthetic so that the fabric can be cut with heat, ultimately bonding the threads together in order to stop the fabric from fraying.
These projects require equipment and materials already used in industry. I propose a new approach to designing for, and manufacturing with, these existing technologies. Specifically single repeat jacquard looms and synthetic yarns. Although this is standard equipment, most mills are reluctant to try news things at the expense of consistent efficiency, but not all mills. I did a residency with TextielLab in Tilburg, Netherlands. Their aim is to inspire and innovate within textiles, allowing projects like this to happen.
This is significant because it removes many manufacturing processes from the supply chain, for example: sewing, fashion garment development and finishing, which is done by merging two separate manufacturing industries into one. In addition, this methodology would reduce shipping between disparate links in the supply chain, thus reducing the carbon footprint of a product. As costs would be saved on shipping and garment construction, the industry could reinvest its resources. For example: in training highly skilled employees, spending more time on research and development for materials and design.
I have created an approach that takes two separate manufacturing industries, by constructing cloth and garment as one. This challenges cultural perspectives on sustainability and mass production, making sustainable manufacturing truly impactful. It is not suggesting a radical change of equipment or materials, but simply a more considered way of designing and making. This project improves the fashion and textiles industry by reducing material waste and the shipment of goods. I am proposing to weave and design in an intellectual manner addressing sustainability in fashion and textiles.
The future of sustainability will be in simplifying objects and processes to reduce material waste. As such, my intention is to make trainers using the minimal amount of components, processes and materials, which would reduce material waste and increase recycling capabilities of a product. I propose to do this by changing the way trainers are manufac- tured by utilising current textile technologies. Phases of Matter is composed of four components, each one cannot function without the other. The midsole has determined the entire de- sign: aesthetic, function and assembly. It is a 3-dimensional woven hon- eycomb form that is shaped, on a handloom through woven structure. Honeycomb structures are bene cial since they are high energy and shock absorbers yet light, necessary attributes for a trainer. Typically this structure is used in packaging, aviation and body amour, applica- tions that require high compressive strength. Since honeycomb is aux- etic, the form mimics the movement of the foot whilst in motion. When the foot is in mid air the sole elongates and when in contact with the ground the structure widens. Rather than sewing or gluing the components together, the entire shoe is assembled through an interlocking system. The outsole relies on the midsole by slotting into the honeycomb’s negative spaces only in areas that require rigidity. Meanwhile the insole slides into the upper; the out- sole has male parts and the insole has female parts so the entire shoe slots together like a puzzle. This allows easy assembly, disassembly and customer customisation: different components could be combined with different colours.... The upper is woven as one piece, leaving behind a complete upper, not requiring tongues or laces to be added. It is shaped through weave structure and material choice, which either adds or deducts volume in necessary places. Conventionally, an upper requires multiple pattern pieces and is sewn together, which is not necessary with the woven method I use. This project requires equipment and materials already used in industry. I propose a new approach to designing for, and manufacturing with, these existing technologies, speci cally jacquard, dobby looms, syn- thetic yarns and 3d printing. This is signi cant because it introduces a shoe to the market that has technical bene ts for the runner along with the footwear and textile industry. In addition, this methodology is a no waste process. One of Four approaches product and production holistically.
This chair was entirely woven on a hand loom out of copper wire. Jacqueline used different structures along with pleats in order to create the woven chair. The method is consistent with her other work using only one material and one process to create an object.
This project was a collaboration with Royal College of Art product design student, Parsha Gerayesh. Parsha and Jacqueline created a chair with the minimal amount of components/materials that would mold to individual bodies, rather than the body having to mold to the chair. When the chair is not being interacted with it looks like a wall hanging but once sat in, it transforms into a chair. In order for the woven material to stretch in some areas and not in others Jacqueline wove this piece with an elastic warp and a polyester warp.
Jacqueline collaborated with product designer Maria Izquierdo to create conceptual fashion pieces. They are meant to challenge perceptions on gender, mixing female and male sex organs. In order to translate Maria's mould into fabric, Jacqueline worked with recycled wool and used millinery techniques to achieve fabric that is soft, stiff and sculptural.
Mannequin Loom challenges the status of makers. Why is fashion more important than weave? Why do fashion designers always take the fabric from weavers and cut into it? Why is design separate within itself? Why can’t garments be woven the same way they can be knitted? I have remade a male mannequin in order to challenge the way designers accept tools without questioning the tool’s efficiency or modern relevance. The form made is a mannequin loom. Garments are directly woven onto the figure and made into clothing simultaneously. The mannequin can be taken apart and stored if need be and would require little packaging waste. This is a no waste method.
Garment Frames suggests a new way to create weave and garments simultaneously. The frames evoke lap looms which are always rectangular. Jacqueline challenged the process in order to create a garment that can be dissembled and rewoven easily.
The garment is woven with leather tape. There was no sewing. Each pattern block is linked together with the same leather cord.
Jacqueline was hired as a maker by Studio Leigh, a new gallery based in East London. The gallery commissioned 27 different artists to respond to a brief: "explore the space between use-value and art for art’s sake."
Jacqueline worked with artist Joe Frazer, who created a love seat named Tete-a-Tete. In order to sit in this chair the audience must face each other. Frazer's aspiration was to encourage intimacy, "an object of desire for desire." The woven part of the chair acts as a guideline to show participants the direction they are meant to face.
When you look at a tree you see its trunk and magnificent branches and leaves. But what you don't see, which is the most complex part, are the roots. Without the roots a tree cannot stand or survive. The Hidden Roots collection shows Jacqueline's nostalgia, and her family's American dream. Her father's family has a long line of wood workers. The smell of burning wood on a table saw brings back memories of childhood. This collection is meant to give traditional American fabrics a new life: cordury, seersucker, cable knit and plain weave. Materials used are: silk, wool, camel hair, alpaca fibre, yak fibre, leather, organza and cotton.
Jacqueline worked with the world’s leading fashion and consumer trend forcasting service, WGSN on a textile forecast project.
