1. hobbies and interests
2. arts and crafts
3. knitting

SHIBORI ON KNITS
FUNG SIN TUNG
BA (Hons) Scheme in Fashion and Textiles
(Knitwear Design with Technology Specialism)
INSTITUTE OF TEXTILES & CLOTHING
THE HONG KONG POLYTECHNIC UNIVERSITY
2012
SHIBORI ON KNITS
A Thesis Submitted
in Partial Fulfillment of the Requirements
for the Degree of
Bachelor of Art (Honours)
in
Fashion and Textiles
(Knitwear Design with Technology Specialism)
under the Supervision of
Dr. Kinor Jiang
by
Fung Sin Tung
Institute of Textiles & Clothing
The Hong Kong Polytechnic University
May 2012
ACKNOWLEDGEMENTS
I would like to express my sincere gratitude to Dr. Kinor Jiang, for
his constant guidance, invaluable advice and sustained interest
throughout my preparation of the project work.
CERTIFICATE OF ORIGINALITY
I hereby declare that this thesis is my own work and that, to the best
of my knowledge and belief, it reproduces no material previously
published or written, nor material that has been accepted for the award
of any other degree or diploma, except where due acknowledgement had
been made in the text.
_
__________________FUNG SIN TUNG
(Signed)
(Name of student)
ABSTRACT
With Shibori, the fabric treated will give a three-dimensional effect
on the fabric surface by crumpling, folding, wrapping, compressing,
plaiting, stitching, or twisting and plucking etc. This project was
focused on the use of the Shibori techniques, chemical etching on metals
and felting on wool, and a combination of them to explore a new dimension
of textile design on knits with selected contents. Both the technical
and design areas of this study were recorded and discussed in this
project.
Metallic yarns and wool yarns were knitted into pieces of jacquard
fabric. With the application of conventional Shibori techniques,
chemical etching on metals and felting on wool, the knitted fabric
samples were developed for further application.
Based on the experimental work of applying Shibori techniques,
chemical etching and felting on knitted fabric, the project also
focused on the creative methods to generate the new dimension of knitted
i
fabric designs. The knitted fabric obtained was further launched for
a collection of creations.
The ultimate goal of the project is to add a new value on knitted fabric
design by improving both the aesthetic functions and commercial values
of knitted fabric. The application of these techniques can serve as
a new and completed method to create innovative knitted fabric design
for the future.
ii
LIST OF FIGURES
Pages
Figure 2-1
(a) Fabric with Hitta Kanoko applied,
13
(World Shibori Network)
(b) Kimono with Kanoko applied as the
background, (Kozo Takeda, 2011)
Figure 2-2
(a) Fabric with Miura applied, (Kozo
14
Takeda, 2011)
(b) Kimono with Miura applied, (Kozo
Takeda, 2011)
Figure 2-3
Kimonos with Kumo applied, (Kozo Takeda,
15
2011)
Figure 2-4
Kimono with Nui applied as the background,
16
(Kozo Takeda, 2011)
Figure 2-5
Kimono with Suiji applied, (Kozo Takeda,
17
2011)
Figure 2-6
(a) Hand painting Arashi Shibori poles
18
(b) Its outcome,
shiborigirl.wordpress.com, 2006
Figure 2-7
Kimono with Itajime applied, (Kozo Takeda,
19
2011)
Figure 2-8
Summer kimono called yukata. Nui-Shibori
20
and Miura-Shibori techniques applied to
create white areas, cotton dyed in indigo,
Arimatsu-Narumi, 19th century.
Figure 2-9
Kimono with Miura applied, (Kozo Takeda,
21
2011)
Figure 2-10
Aigi or shitagi, under layer of a set of
21
kimono, carved-board clamp resist dyed with
coveted beni (red dye) on silk, Japan, 19th
century.
Figure 2-11
Blumarine, Spring/Summer 2010
23
Ready-To-Wear Collection
iii
Figure 2-12
Proenza Schouler, Spring/Summer 2010
23
Ready-To-Wear Collection
Figure 2-13
Ports 1961, Spring/Summer 2010
24
Ready-To-Wear Collection
Figure 2-14
Lamp, (Murase, 2011)
25
Figure 2-15
The scales on a wool fibre X1300. (Saville,
26
1999)
Figure 2-16
Felted wool circles of fabric stitched and
28
dyed (Iwatsubo, 2001)
Figure 2-17
Jeung-Hwa Park: (a) Panel 1 and (b) Panel
29
2 (Machine Knit, Tie, Felt, Dye), Hong Kong
8th International Shibori Symposium
Figure 2-18
Metallic core yarn from Winning Textile
31
Figure 2-19
Blended metallic yarn by twisting from
31
Winning Textile
Figure 2-20
Schematic representation of the laminating
32
process for metallic tapes / yarns, (Jiang,
2005)
Figure 2-21
Etched in ferric chloride for PCB
33
production at home, Wikipedia
Figure 2-22
Metallic fabric with chemical etching and
34
dyeing applied, (FUNG, 2010)
Figure 2-23
Poster of The Art of Fashion: Experimental
35
Textiles (Jiang, 2010)
Figure 2-24
A diagram of a loop, (Yue, 1991)
36
Figure 2-25
The technical front and back of a single
37
knitted fabric, (Yue, 1991)
Figure 2-26
The technical front and back of a tuck loop,
38
(Yue, 1991)
Figure 2-27
The technical front and back of a miss loop,
38
(Yue, 1991)
Figure 2-28
Electronic flat, (Au, 2011)
39
Figure 2-29
V-bed knitting machine, (Au, 2011)
40
Figure 3-1
100% Lambs Wool
49
Figure 3-2
(a) Black metallic yarn
52
(b) Pink metallic yarn(62% Metallic (Nylon
film), 38% Wool-nylon)
iv
Figure 3-3
Float jacquard knitted fabric with wool
53
yarn (100% Lambs Wool) and metallic yarn
(62% Metallic (Nylon film), 38%
Wooly-nylon)
Figure 3-4
STOLL CMS 822
Figure 3-5
(a) 1x1 stripping, float jacquard, with
54
55-56
wool yarn (100% Lambs Wool) and black
metallic yarn (62% Aluminium (Nylon film),
38% Wooly-nylon)
(b) 2x2 stripping, same as (a)
(c) 3x3 stripping, same as (a)
(d) 1x1 stripping, float jacquard, with
wool yarn (100% Lambs Wool) and pink
metallic yarn (62% Aluminium (Nylon film),
38% Wooly-nylon)
(e) 2x2 stripping, same as (d)
(f) 3x3 stripping, same as (d)
Figure 4-1
(a) 1x1 stripping, float jacquard, with
60-61
wool yarn (100% Lambs Wool) and black
metallic yarn (62% Aluminium (Nylon film),
38% Wooly-nylon)
(b) 2x2 stripping, same as (a)
(c) 3x3 stripping, same as (a)
(d) 1x1 stripping, float jacquard, with
wool yarn (100% Lambs Wool) and pink
metallic yarn (62% Aluminium (Nylon film),
38% Wooly-nylon)
(e) 2x2 stripping, same as (d)
(f) 3x3 stripping, same as (d)
Figure 4-2
Dye bath prepared
62
Figure 4-3
Etching solution prepared
63
Figure 4-4
(a) Chess, (b) Flex thread, (c) wooden
64
stick, (d) clips
Figure 4-5
Fabric with Shibori techniques applied
65
Figure 4-6
Samples of Category 1
67
Figure 4-7
Samples of Category 2
68-69
Figure 4-8
Samples of Category 3
69
v
Figure 4-9
(a), (b), (c): Samples of Category 1
70-71
(d), (e), (f), (g), (h): Samples of Category
2
(i), (j), (k): Samples of Category 3
Figure 4-10
(a) Blue dye bath and
75
(b) Red dye bath prepared
Figure 4-11
(a), (b), (c), (d), (e): Beads with
76
different shapes
(f): Needle-and-threads, coarse thread
Figure 4-12
(ai),(bi): Fabric (a) mentioned in 4.2.1.1
77-78
(ci): Fabric (c) mentioned in 4.2.1.1
(di), (gi): Technical back of Fabric (a)
mentioned in 4.2.1.1
(ei), (fi): Fabric (d) mentioned in 4.2.1.1
(aii) to (gii): Middle stages of samples
(aiii) to (giii): Resulted samples
Figure 4-13
Resulted samples of Experiment 2
79
Figure 5-1
Event Deck at L.A. Live, 1005 West Chick
85
Hearn Court, Downtown Los Angeles,
California, (Jen Stark, 2011)
Figure 5-2
(a) to (e): Works for HI-FRUCTOSE v.2, (Jen
85-86
stark, 2011)
Figure 5-3
AD-01 Necklace
88
Figure 5-4
AD-02 Necklace
89
Figure 5-5
AD-03 Bracelet
90
Figure 5-6
AD-04 Bracelet
91
Figure 5-7
AD-05 Bracelet
92
Figure 5-8
AD-06 Bracelet
93
Figure 5-9
AD-07 Necklace
94
vi
CONTENTS
Pages
ACKNOWLEDGEMENTS
CERTIFICATE OF ORINGINALITY
ABSTRACT
i
LIST OF FIGURES
CHAPTER 1
INTRODUCTION
iii
1
1.1
Background of Study
1
1.2
Objectives
4
1.3
Scope of Study
5
1.4
1.5
Methodology
Significance and Contribution
CHAPTER 2
2.1
2.2
LITERATURE REVIEW
Shibori
6
8
10
10
2.1.1
Introduction to Shibori
10
2.1.2
Shibori Techniques
12
2.1.3
Shibori Applied on Fashion
20
2.1.4
Shibori Applied Apart from Fashion
24
Shibori Felting
25
2.2.1
Wool Fibre
25
2.2.2
Felting Shrinkage of Wool
26
2.2.3
Shibori Felting Applied on Fashion
27
vii
2.3
2.4
2.5
Chemical Etching on Metallic Fabric
29
2.3.1
Metallic Textile
29
2.3.2
Production of Metallic Yarn
30
2.3.3
Chemical Etching Process
32
2.3.4
Chemical Etching of Metallic Fabric Applied on
Fashion
34
Knitting Technology
35
2.4.1
Introduction to Knitting
35
2.4.2
Principle of Weft Knitting
36
2.4.3
Knitting Machines
39
2.4.4
Physical Properties of Knitted Fabric
40
Dyeing Technology
41
2.5.1
Principle of Dyeing
41
2.5.2
Classification of Dyestuffs
42
2.5.3
Dyeing Process
44
2.6 Summary
CHAPTER 3
46
DEVELOPMENT OF DESIGNS ON KNITS BY SHIBORI
48
3.1 Introduction
48
3.2 Development of Knitted fabric
48
3.2.1
Materials
49
3.2.1.1
Wool Yarn and the Correlated Dyestuffs
49
3.2.1.2
Metallic Yarn
51
3.2.1.3
Their Blends
52
3.2.2
Knitting Machine
53
3.2.3
Knitting Structures: Float Jacquards
54
3.3 Combining Shibori Felting and Chemical Etching
Techniques
3.3.1
Principle
56
57
viii
CHAPTER 4
EXPERIMENTS OF COMBINING SHIBORI FELTING AND
CHEMICAL ETCHING TECHNIQUES
59
4.1 Introduction
59
4.2 Experiment 1
59
4.2.1
Materials
60
4.2.1.1
Developed Knitted Fabric
60
4.2.1.2
Dyestuffs
61
4.2.1.3
Chemicals for Chemical Etching
62
4.2.1.4
Equipment and Tools
63
4.2.2
Procedures
64
4.2.3
Results
66
4.2.4
Conclusion and Analysis of the Results
72
4.3 Experiment 2
4.3.1
74
Materials
74
4.3.1.1
Developed Knitted Fabric
74
4.3.1.2
Dyestuffs
74
4.3.1.3
Chemicals for Chemical Etching
75
4.3.1.4
Equipment and Tools
75
4.3.2
Procedures
76
4.3.3
Results
77
4.3.4
Conclusion and Analysis of the Results
80
4.4 Summary of the Results
CHAPTER 5
CREATION OF DESIGNS ON KNITS BY SHIBORI
81
82
5.1 Introduction
82
5.2 Design Concept
82
5.3 Design Inspiration
83
5.4 Design Collection
87
5.5 Summary
95
ix
CHAPTER 6
CONCLUSIONS and RECOMMENDATIONS
6.1 Conclusions
6.2 Recommendations
REFERENCES
97
97
100
102
x
CHAPTER 1
INTRODUCTION
1.1 Background of Study
The word “Shibori” being used worldwide is originally a Japanese
wording which refers to numbers of ways for designing textile by shaping
fabric and then fixing before dyeing. The word is originally from the
Japanese verb root Shiboru, “to wing, squeeze and press.”, emphasizing
the action of manipulating fabric. However, Shibori is often wrongly
recognized as Tie-dye in Western, which simply means resist-dyeing
on a two dimensional surface. Actually, Shibori describes the
patterning process of manipulation of fabric from a two-Dimensional
surface into a three-Dimensional shape while dyeing is applied. (Wada,
2002)Therefore, Shibori is translated the most closely as “Shaped
resist dyeing”. Apart from the unique three dimensional resist dyeing
effect, Shibori treated fabric also has a special characteristic,
which is a soft- or blurry-edged pattern with crinkled textures. This
effect is quite different from the sharp-edged obtained from stencil,
1
CHAPTER 1
pasted, and wax. (Wada, Rice & Barton, 1999) Therefore, Shibori is
an unique dyeing technique which is desired to be explored.
With Shibori, the fabric treated will give a three-dimensional effect
on the fabric surface by crumpling, folding, wrapping, compressing,
plaiting, stitching, or twisting and plucking etc. Fabric treated by
the above methods is then secured by numbers of ways, such as binding,
knotting and capping etc.
When the fabric is untied back to the
original form, the result of the design emerged is the three dimensional
shape, the type of resist, and the amount of pressure exerted by tools
that secured the shape during exposure of the fabric to the dye. Both
the shape and the pressure exerted on the fabric are sensitively
recorded and it is the “Memory” that remains on the fabric. (Wada,
2002) This is the potential of Shibori for creating shaped-resist
designs in which the Japanese concept of Shibori recognizes and
explores. (Wada, et al, 1999)
In addition to Shibori techniques mentioned above, it encompasses
high-tech processes like melt-off on metallic fabric, the felting on
2
CHAPTER 1
wool which makes it possible to turn fabric made of animal fabric into
free
dimensional
shapes
etc.
Melt-off
on
metallic
fabric
is
technically termed as chemical etching on metallic fabric. Metallic
fabric used for chemical etching is normally woven with polyester or
nylon
metallic
yarn.
(Wada,
2002)
After
applying
the
Shibori
techniques on the metallic fabric, it is then soaked into a chemical
solution in order to dissolve the metal of the exposure area. Only
the area covered will remain metallic shine. And then the fabric can
be further dyed using Shibori techniques to obtain more colours. Apart
from chemical etching, a combined technique of Shibori dyeing and
felting on knits is also an interesting way to create three dimensional
dyed knits. Felting, also called fulling, is achieved by felting
shrinkage of wool. Scales on wool fibre make it possible to be felted.
After washing with heat and agitation, the wool fibres will entangle
causing matting and shrinking to form a tighter and cohesive structure.
As a whole, this project was focused on the use of the above Shibori
techniques, chemical etching on metallic textile and felting on wool,
and/or a combination of them to explore a new dimension of textile
3
CHAPTER 1
design on knits with selected contents. Both the technical and design
areas of this study will be recorded and discussed in this project
for future reference. In addition, the designed knitted fabric will
be applied on the area of fashion.
1.2 Objectives
This project is aimed at exploring the potential of application of
different Shibori techniques on knitted fabrics in order to introduce
an innovative method on textile design on knits. This project is focused
on the production of creative knitted fabric design by a combination
of Shibori techniques, chemical etching on metallic textile and
felting on wool. The principle objectives of the project are summarized
as follows:
1. To introduce an innovative design concept for textile design on
knitted fabric by combing certain Shibori techniques;
2. To design knitted fabrics with the concern of fabric contents,
structures, colours and treatment technology;
4
CHAPTER 1
3. To establish textile design models of knitted fabric designs by
Shibori techniques, and to select appropriate physical and chemical
treatment methods;
4. To evaluate the aesthetics of the Shibori applied knitted fabrics
by analytical techniques;
5. To add a new value on knitted fabric and to apply the designs on
fashion area.
1.3 Scope of Study
This project is focused on the application of conventional Shibori
techniques, chemical etching on metallic textile and felting on wool,
on knitted fabrics with selected contents and structures. From the
history of Shibori, technology of chemical etching on metallic textile,
theory of wool felting, fundamental knitting technology, to dyeing
technology, they are all studied. In addition, design process of
textile design is also carried out in this project.
5
CHAPTER 1
1.4 Methodology
There are mainly five studies planned, in order to achieve the
objectives mentioned in this project. The five studies are listed as
follows:
Study 1: Literature review
Study 2: Experiment, production and evaluation of small samples
Study 3: Design progress
Study 4: Experiment, production and evaluation of fabric swatches
Study 5: Design Application and analysis
Before starting any experiments, research was done by literature
reviewing to trace the root of Shibori, the technological development
of chemical etching on metallic textile, the theory of wool felting,
the fundamental knitting technology and the theory of textile dyeing
(Study 1).
As fabric’s physical and chemical structures contributed a lot on the
three-dimensional effect, before starting design, deciding suitable
fibre contents and knitting structures of knitted fabric to be used
6
CHAPTER 1
for Shibori is important, and it was done by literature review and
expert consultation. Pure wool and metallic knits were the desired
fabrics, but experiment for selecting particular fabrics was still
needed, and also it could be a trial before starting to produce the
real swatches (Study 2). After the experiment in Study 2, a collection
of small samples with different combinations of fabric contents,
fabric structures, colours and techniques applied on were produced
for further development. The etching effect and the three-dimensional
effect of the produced samples were evaluated by comparison among the
swatches produced and aesthetic evaluation was done by analytical
methods before producing the real swatches.
Then, a collection of illustrations or conceptual drawings of Shibori
designs applied on knits were produced after being inspired and getting
the main design concept, in which could be from the samples produced
in Study 2, research, life-experience and expert consultation. All
designs were created around a theme or several related themes, so that
a collection of designs of fabric swatches could be produced (Study
3). By applying individually or a combination of the Shibori techniques
7
CHAPTER 1
(Kanoko, Miura, Kumo, Nui, Suji, Arashi, Itajime shibori (World
Shibori Network)) and modern techniques (Shibori felting on Wool,
Chemical etching on metallic knits), a collection of fabric samples
were produced according to the illustrations developed previously.
The etching effect and the three-dimensional effect of the produced
samples were evaluated by comparison among the swatches produced and
aesthetic evaluation was done by analytical methods (Study 4). Finally,
the swatches produced were applied on fashion, furniture or as a sole
art piece etc. (Study 5).
1.5 Significance and Contribution
The current project has suggested an innovative method for textile
design on knitted fabric. The originality of the project includes the
application of Shibori techniques, in which combine conventional
Shibori techniques, chemical etching on metallic textile and felting
on wool, on knitted fabrics with selected contents and structures.
The major significance of this project is to add a new value on knitted
fabric design by improving both the aesthetic functions and commercial
values of knitted fabric. The application of these techniques can serve
8
CHAPTER 1
as a new and completed method to create innovative knitted fabric
design.
9
CHAPTER 1
CHAPTER 2
LITERATURE REVIEW
2.1 Shibori
2.1.1 Introduction to Shibori
Shibori (絞り染め) is a Japanese term for treatment of textile by dyeing
with patterns generated by folding, binding, stitching, twisting,
compressing or capping etc. The mentioned methods are categorized as
tie-dye in the Western society; however, Shibori is definitely more
than the tie-dye. It is a shaped-resist dyeing technique, in which
instead of only creating two-dimensional patterns on fabric surface,
a three-dimensional object can be created. After shaped-resist dyeing,
a "memory on fabric" -permanent record, whether of patterning or
texture will be left according to the particular types of resist done.
A wide range of Shibori techniques and patterns are found in many parts
of the world in the past, including China, Japan, the Indonesia, Turkey,
Persia, Morocco, Mongolia, Western Africa, Tunisia and Central and
Latin America. (Wada, 2012) Among the mentioned places, Japan got the
10
CHAPTER 2
largest collection of Shibori artwork. In Japan, the earliest known
example of Shibori applied work, dated from the 8th century was among
the goods donated by the Emperor Shōmu to the Tōdai-ji in Nara, the
great Buddhist temple in the imperial capital. (Wada, 2002) With the
patronage of the lord and a strong sense of cooperation among the
Shibori merchants, the Arimatsu-Narumi region (nowadays Nagoya)
became a center of Shibori products. The techniques and designs of
Arimatsu were developed primarily by the Shibori artisans who created
spiritual motifs while introducing unlimited variations to the process.
The found motifs included wood grain, starfish and mountain path etc.
(Wada, 2012)
Until the 20th century, only a limited variety of fabrics and dyes
were used in Japan. The most popular fabrics used were made from
cellulosic fibres, such as hemp and cotton; and animal fibre, such
as silk. Besides, the dye applied was normally natural dyes including
indigo, madder and purple root. Nowadays, the most common natural
materials for Shibori are still woven silk, cotton, linen and sometimes
wool. Synthetic fibres such as nylon, polyester and rayon, or their
11
CHAPTER 2
mix with other natural or manmade fibres, or metallic yarn etc. become
more popular and they are usually woven in structure for Shibori. (Wada,
et al., 1999) On the other hand, knitted fabric is still an
under-explored area for Shibori. And it is believed that knitted fabric
also has the potential to be created as an interesting and modern art
piece by Shibori techniques. In this project, common fibres such as
pure wool knits and modern metallic knits are treated with both of
the traditional and the following mentioned modern Shibori techniques.
2.1.2 Shibori Techniques
In traditional Shibori crafts, artists have devised several techniques
in which the handwork is found to be the most efficient to achieve
the goal of production. (World Shibori Network) And, there are many
traditional Shibori techniques including Kanoko, Miura, Kumo, Nui,
Suji, Arashi, Itajime shibori (World Shibori Network) etc. These
Traditional Shibori techniques are introduced with examples in the
following.
12
CHAPTER 2
Kanoko, known as bound resist, is the most common methods to make
patterns on fabric by drawing up certain amount of fabric using fingers,
and the drawn fabric is then bound with thread. The way the fabric
being drawn up, the tightness exerted by binding, the density of binding
applied, and the density of the plucks applied, determine the resulting
patterns. For instance, if the fabric is just drawn and bound in a
simple way, the resulting pattern will be scattered rings resisted
from dye; if the fabric is fold and bound on bias, the pattern will
be a diagonal arrangement of resisted diamond patterns. (World Shibori
Network; Wada, et al., 1999) Two examples of applying Kanoko on a fabric
and a kimono are shown in the following Figure 2-1 respectively.
(a)
Figure 2-1,
(b)
(a) Fabric with Hitta Kanoko applied, (World Shibori
Network)
(b) Kimono with Kanoko applied as the background,
(Kozo Takeda, 2011)
13
CHAPTER 2
Miura, known as loop binding, in which a certain amount of fabric is
gathered with a hook; and then the fabric is bound by thread without
knotting. The bound portion of the fabric is hold by tension by the
thread. Since knotting is not applied in the binding process but only
looping, it results in a soft watermark-like pattern. Because it
doesn’t cost much, and the size, arrangement, and scale are easy to
be controlled, Miura Shibori has been applied in a wide range of
household goods, such as wash towel or head kerchief. (World Shibori
Network) Two examples of applying Miura on a fabric without dyeing
and a kimono are shown in the following Figure 2-2 respectively.
(a)
Figure 2-2,
(b)
(a) Fabric with Miura applied, (Kozo Takeda, 2011)
(b) Kimono with Miura applied, (Kozo Takeda, 2011)
14
CHAPTER 2
Kumo, known as pleated and bound resist, fabric is created by varying
the amount of binding, in which is then gathered into certain hornlike
units. The fabric is bound from the bottom to the top, then down again
to the bottom before gathering and binding the upcoming ‘horn’. A
circular pattern of radial lines against the reserved white background
is obtained and looks like a spider web. Kumo shibori can be achieved
by tying fabric by hands (te gumo) or with the help of tools (kikai
gumo). (World Shibori Network; Wada, et al., 1999) Two examples of
applying Kumo on kimono are shown in the following Figure 2-3.
Figure 2-3, Kimonos with Kumo applied, (Kozo Takeda, 2011)
Nui, known as stitch resist, is done by stitching on the fabric with
different arrangement of the stitches, such as straight, parallel,
curved lines, or enclosing etc. After stitching, the fabric is drawn
15
CHAPTER 2
to form gathers along the stitch lines, and then secured by knotting.
The portion of fabric within the gathers is prevented from dyeing
leaving a whit ground. The stitching allows a high flexibility and
can be manually controlled to create a great variety of patterns. The
only disadvantage is time-consuming. (World Shibori Network; Wada,
et al., 1999) An example of applying Nui on a kimono is shown in the
following Figure 2-4.
Figure 2-4, Kimono with Nui applied as the background, (Kozo Takeda,
2011)
Suji, is done by pleating on the fabric by hand, machine, or stitching,
then pleated fabric is bound around by thread to maintain the pattern
and shape of the pleats. The fabric with pleats is bound tightly
lengthwise with thread before applied to the dye. This important action
16
CHAPTER 2
allows only the exposure of the peaks of each pleat to the dye. And
the resulting pattern is vertical stripes. By changing the sizes of
pleats or the binding intervals, repeating the process of pleating
and dyeing, or reversing the valleys and peaks of the pleats, a wide
variety of designs can be created. Applying Suji on fabric is relatively
easy to handle and inexpensive to be produced compared with other
Shibori techniques. As a result, fabrics with the technique applied
are widely used in indigo-dyed cotton kimonos and in silk underkimonos
for the more privileged class. (World Shibori Network; Wada, etal.,
1999) An example of applying Suji on a kimono is shown in the following
Figure 2-5.
Figure 2-5, Kimono with Suiji applied, (Kozo Takeda, 2011)
17
CHAPTER 2
Arashi, known as diagonal pole wrap, is to create dye-resist patterns
by wrapping fabric around a pole, and compressing it into folds or
pleats, and then applied to dyeing. The resulting patterns are arranged
into diagonal lines which simulate rain storm; hence, it is also called
‘Storm’ motif. The original process was further developed by using
plastic pipe with short length and turning the pipe manually and then
winding around with thread by hand. Contemporary textile artists have
made use of the fine pleated textures dominated in Arashi to design
many fashion arts. Well-known examples can be from artist Karren K.
Brito-Entwinements. (World Shibori Network; Wada, et al., 1999) An
example of applying Arashi on a fabric roll and the outcome are shown
in the following Figure 2-6.
(a)
Figure 2-6,
(b)
(a) Hand painting Arashi Shibori poles
(b) Its outcome, shiborigirl.wordpress.com, 2006
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Itajime is done by folding and clamping. The clamping area is dye-resist
and the most common pattern found is check. In general, the fabric
is placeded between two pieces of wooden objects which can be in
different shapes, and then secured in place with strings. Nowadays,
more artists use shaped objects cut from acrylic or plexiglass and
hold the shapes in place with C-clamps. The shapes of the equipment
provide a coverage which prevents the covered area from dyeing. The
resulting patterns are dye-resisted shapes of the equipment with
relatively clear edges. An example of applying Itajima on a kimono
is shown in the following Figure 2-7.
Figure 2-7, Kimono with Itajime applied, (Kozo Takeda, 2011)
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2.1.3 Shibori Applied on Fashion
Shibori is originally found in Japan and it has long been applied on
Japanese fashion. The most well-known application of Shibori in the
past in Japan was kimonos, traditional apparels from ancient Japan
until now. Indigo-dyed kimonos are the most common as shown in Figure
2-8 and Figure 2-9. Apart from indigo-dyed kimonos, there are kimonos
dyed in different colours as shown in Figure 2-10.
Figure 2-8, Summer kimono called yukata. Nui-Shibori and Miura-Shibori
techniques applied to create white areas, cotton dyed in indigo,
Arimatsu-Narumi, 19th century.
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Figure 2-9, Kimono with Miura applied, (Kozo Takeda, 2011)
Figure 2-10, Aigi or shitagi, under layer of a set of kimono,
carved-board clamp resist dyed with coveted beni (red dye) on silk,
Japan, 19th century.
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Apart from Japanese traditional fashion, Shibori-applied fashion can
also be found all over the world. The following are the recent
collections from different brands who had applied Shibori techniques
in their collections.
In Blumarine’s Spring/Summer 2010 Ready-To-Wear collection, a lots
of colourful Shibori applied dresses and knitted items could be found
as shown in Figure 2-11. Blumarine offered mind-refreshing designs
that appeal to a bright color palette and could be very wearable during
summer. The dresses as well as accessories all presented colourful
and abstract patterns achieved by Shibori techniques. From Proenza
Schouler’s Spring/Summer 2010 Ready-To-Wear collection as shown in
Figure 2-12, Hernandez and his partner, Jack McCollough, started
playing with Shibori techniques and scuba elements for Resort. Proenza
Schouler made use of bright neon tones, such as electric blue and green
to create unique Shibori patterns. The sections with Shibori applied
add finesse and at the same time a Rock chic mood to the collection.
In Ports 1961’s Spring/Summer 2010 Ready-To-Wear collection as shown
in Figure 2-13, the use of shimmery fabrics and monotones used grants
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the patterns of Shibori with a flamboyant tint. The designer stroked
a right balance between subtle colours and interesting Shibori
patterns, which made the collection more wearable but still innovative
in design.
Figure 2-11, Blumarine, Spring/Summer 2010 Ready-To-Wear Collection
Figure 2-12, Proenza Schouler, Spring/Summer 2010 Ready-To-Wear
Collection
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Figure 2-13, Ports 1961, Spring/Summer 2010 Ready-To-Wear Collection
2.1.4 Shibori Applied Apart from Fashion
Besides, Shibori-applied furniture can also be found in the markets
nowadays and it is interesting to find something else apart from fashion
with Shibori applied on. The following art piece as shown in Figure
2-14 is a lamp created by a Japanese artist, Hiroshi Murase with Kumo
Shibori applied. Murase, the director of Suzusan, is the 4th Generation
in practicing Shibori in his family. His business in Japan is textiles
and fibres design by Shibori techniques. Suzusan successfully combines
tradition of Shibori techniques and modern designs, and its products
are being more popular around the world, especially for Europe. Based
on Murase‘s design concepts, Murase made use of three-dimensional
patterns, exciting contrasts or soft, and the transitions of colours
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to create unique products from selected fabrics. There are a wide range
of products can be found in Suzusan, such as fabric art pieces,
accessories and luminaries for different area including fashion,
furniture, interior designs. Internationally renowned designers and
labels such as Issey Miyake, Calvin Klein, Junya Watanabe and Yohji
Yamamoto have already discovered for the variety of Suzusan fabrics
created based on Shibori and tended to cooperate with Suzusan. (Suzusan,
2011)
Figure 2-14, Lamp, (Murase, 2011)
2.2 Shibori Felting
2.2.1 Wool Fibre
Wool is an animal fibre obtained from sheep. It is a kind of proteinous
fibre with surface scales in which is the main physical characteristic
of wool fibre. These scales are relatively hard and have sharp edges,
causing the surface of wool fibre with ‘Frictional Difference’ (Chen,
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2002), which is the major cause of felting shrinkage of wool. The
following is the microscopic photo of wool fibre as shown in Figure
2-15.
Figure 2-15, The scales on a wool fibre X1300. (Saville, 1999)
2.2.2 Felting Shrinkage of Wool
Felting shrinkage results from the frictional difference of the
component fibres, in which leads them to migrate within the structure.
(Saville, 1999) Felting is significant mainly for fibres having
surface scales such as wool and is related to the directional frictional
effect which is also commonly found in wool fibre. Movement of the
wool fibres against any surface in the fibre root to fibre tip direction
results in contact with the smooth surface of the scales. On the other
hand, movement in opposite direction results in contact with the
pointed scales edges in which a stronger resistance to movement is
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promoted and the directional frictional effect is created. (Saville,
1999)
Hot water, agitation and alkaline condition can promote the felting
of wool. (Hunter) Hot water allows wool fibre to swell and hence leading
the scales on the fibre surface to push more outward, in which promotes
the directional frictional effect resulting felting shrinkage. With
agitation, movement of wool fibre is promoted. The increased movement
of wool fibre can enhance the directional frictional effect and also
allow the wool fibre to compact further. Alkaline condition enhances
the scales on wool fibre to tangle and hold together, thus the felting
shrinkage of wool is further promoted. The results of felting shrinkage
of wool fabric are the reduction of the fabric dimension in both
lengthwise and widthwise directions, and the increase of fabric
thickness.
2.2.3 Shibori Felting Applied on Fashion
The following artwork as shown in Figure 2-16, was created by a young
Japanese designer, Mie Iwatsubo. Rather than using woven fabric and
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applying sole Shibori techniques, Iwatsubo creates designs by combined
techniques of Shibori dyeing and felting on knitted fabric. Knitted
fabric have a lateral elasticity that makes the pleats and gathers
that act as the resist respond differently than that in a woven fabric
which has less lateral elasticity. (Iwatsubo, 2004) Therefore, Knits
for Shibori and felting is truly possible and the effect is unexpected.
Figure 2-16, Felted wool circles of fabric stitched and dyed
(Iwatsubo, 2001)
Jeung-Hwa Park, a Korean artist who created two pieces of fabric artwork
with the application of Shibori felting on wool knitted fabric as shown
in Figure 2-17. For both fabric art pieces, the area tied with shaped
particles were prevented from feting while the other area was undergo
felting and shrinking, which in term created a three-dimensional
effect on the fabric surface. The three-dimensional effect created
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was obvious and permanent. That was the effect which the proposed
project supposed to be achieved.
(a)
(b)
Figure 2-17, Jeung-Hwa Park: (a) Panel 1 and (b) Panel 2 (Machine Knit,
Tie, Felt, Dye), Hong Kong 8th International Shibori Symposium
2.3 Chemical Etching on Metallic Fabric
2.3.1 Metallic Textile
Metallic textiles have long been applied in fashion because of their
shinny appearance, high reflection of light, thermo-insulation and
electricity conductivity etc.. Conventionally, metallic fabric can
be produced in several ways, such as metallic powder printing on normal
textile fabric, metallic yarns produced by blending metallic filament
with other textile fibres, metallic tapes or yarns produced by
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lamination. (Jiang, 2005), and sputter coating on surface of textile
fabric. (Yip, 2009) In this project, knitted metallic fabric is focused
and the basic element for knitted metallic fabric is metallic yarns.
2.3.2 Production of Metallic Yarn
There are several ways for producing metallic textiles, such as
metallic yarns blending metallic filament with other yarns, metallic
fabric produced by vacuum deposition or sputtering technology, and
metallic thin strips produced by lamination. In this project, blending
and lamination will be studied.
Typically, blending method involves wrapping metallic yarn around a
core yarn made from natural or synthetic materials in order to produce
a lustrous surface as shown in Figure 2-18. Moreover, blending can
also be done by twisting a metallic yarn with other yarns made from
different materials as shown in Figure 2-19. They are most commonly
used in knitting and sewing.
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Figure 2-18, Metallic core yarn from Winning Textile
Figure 2-19, Blended metallic yarn by twisting from Winning Textile
Lamination is a process which sandwiches a piece of metal foil between
layers of plastic films. A kind of adhesive is applied to both sides
of the film and metallic foil. Then, the combined film is slit into
strips with specific width. The strips produced are so called synthetic
slit film as shown in Figure 2-20. (Kadolph, 1998) Being incorporated
into a polymeric carrier, the metallic foil can also be spread onto
the surface of fabric as a coating. On the other hand, metallic yarns
can be produced by vacuum deposition to lay Aluminium, titanium etc.
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on synthetic fabric which is then slit into fine strips. (Jiang, 2005)
Colours can be added by applying pigments on the metal foil or in the
adhesive or coating; sticking with pre-coloured plastic films.
Figure 2-20, Schematic representation of the laminating process for
metallic tapes / yarns, (Jiang, 2005)
2.3.3 Chemical Etching Process
Chemical etching, also known as chemical milling is a process aimed
to dissolve unwanted materials, such as metals, semiconductor
materials or glass using acids, bases or other chemicals. (Wikipedia)
This technique has been applied on a wide variety of metals, such as
Aluminium, copper, Nickel and Silver etc. Acids, bases or other
chemicals act as a chemical reagent to remove metals and selective
etching can be achieved by immersing partially the metals in the reagent.
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Chemical etching has applied on the printed circuit board as shown
in Figure 2-21 and semiconductor fabrication industries.
Figure 2-21, Etched in ferric chloride for PCB production at home,
Wikipedia
For textile industry, the most popular used for making metallic threads
is Aluminium (Al) because of its desirable manufacturing flexibility,
low cost and its chemical activity towards alkaline solution. The
chemical etching of Aluminium is done by corrosion of Aluminium by
alkaline solution. For this proposed project, a mild solution of soda,
Sodium Carbonate (Na2CO3) was used to dissolve Aluminium. Soda was used
because it is mild and has less destructive power to fabric, and it
has effective corrosion of Aluminium at the same time. (Jiang, 2004)
After chemical etching, the area of the metallic fabric, which is
exposed to the solution of Soda solution, will be removed leaving the
original colour of the fabric as shown in the following Figure 2-22.
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Figure 2-22, Metallic fabric with chemical etching and dyeing applied,
(Fung, 2010)
2.3.4 Chemical Etching of Metallic Fabric Applied on Fashion
The following poster as shown in Figure 2-23, was an exhibition "The
Art of Fashion: Experimental Textiles" presented by Dr. Kinor Jiang,
lecturer of The Hong Kong Polytechnic University. By focusing on the
applications of fashion design and abstract aesthetic artpieces, this
exhibition showed experimental textiles including metallized and
etched metallic fabrics created from technologies of physical and
chemical treatments. (World Shibori Network; Jiang, Yuen & Kan, 2007;
Jiang, 2009) Dr. Jiang also worked with other two experts Yuen and
Kan to perform a study on the topic of “Creation of design on nylon
metallic fabric” in 2007. A design method for nylon metallic fabric
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design was studied by applying the chemical etching treatments and
dyeing techniques. The study presented by Dr. Jiang was aimed to
evaluate the influence of chemical treatments on the nylon metallic
fabric for the development of decorative textiles.
Figure 2-23, Poster of The Art of Fashion: Experimental Textiles
(Jiang, 2010)
2.4 Knitting Technology
2.4.1 Introduction to Knitting
Knitted fabrics nowadays cover a wide range of structures. They can
be mainly divided into two categories, weft knitting and warp knitting.
Warp knitting in the market is mainly for the manufacture of lace,
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blanket, and household products etc., while weft knitting is mainly
for the manufacture of apparels. (Au, 2011) Instead of warp knitting,
weft knitting was used and studied in this project.
2.4.2 Principle of Weft Knitting
Weft knitted fabric consists of continuous loops which are formed by
a single yarn. The ‘Omega’ shaped loop is the basic element of a knitted
fabric as shown in Figure 2-24.
Figure 2-24, A diagram of a loop, (Yue, 1991)
Base on knitting structure, knitted fabric can be simply divided into
single and double knitted fabric. Single knitted fabric refers to
producing knitted fabrics by a set of needles of knitting machine while
double knitted fabric refers to producing knitted fabric by two sets
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of needles of knitting machines. (Yue, 1991) In this project, single
knitted fabric was further studied as below.
For the appearance of single knitted fabric, it has different
appearances on the front and back of the fabric as shown in Figure
2-25. The technical front consists of needle loops in ‘V’ shape while
the technical back consists of sinker loops in the shape of
semi-circles.
Figure 2-25, The technical front and back of a single knitted fabric,
(Yue, 1991)
The basic elements for the formation of knitting structures involves
three kind of loops, including knit shown in the above Figure 2-25,
tuck, miss loops as shown in Figure 2-26 and Figure 2-27. Basically,
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all stitches are developed from different combinations of these three
loops mentioned above.
Figure 2-26, The technical front and back of a tuck loop, (Yue, 1991)
Figure 2-27, The technical front and back of a miss loop, (Yue, 1991)
Fabric used in this project was without exception formed from knit
loops and miss loops, and was studied in the following chapter.
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2.4.3 Knitting Machines
The three main groups of weft knitting machinery may broadly be
classified as either straight bar frames, flats, or circulars,
according to their frame design and needle bed arrangement. (Au, 2011)
In this project, the kind of machine used was V-bed flat knitting
machine shown in Figure 2-28 which is studied in the following.
Figure 2-28, Electronic flat, (Au, 2011)
V-bed knitting machines have two rib gated, diagonally-approaching
needle beds, setting at between 90 and 104 degrees (Au, 2011) to each
other, giving an inverted V-shape as show in Figure 2-29. V-bed flat
machine is operated by cams in a reciprocating carriage with latch
needled mounted in the beds.
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Figure 2-29, V-bed knitting machine, (Au, 2011)
2.4.4 Physical Properties of Knitted Fabric
Knitted fabric has better stretch property than woven fabric made from
similar materials. Compared with woven fabrics where the extension
is usually less than 10%, knitted fabrics are often able to develop
high extensions, as high as 100%, because of the totally different
deformation mechanisms between woven and knitted fabrics. (Au, 2011)
Therefore, knitted fabric has better elasticity compared with woven
fabric because of the deformation of yarn loops.
Besides, knitted fabric also has better recovery property than woven
fabric made from similar materials. When a knitted fabric is relaxed
after stretching, it can recover to its original dimension quickly.
It is because of the quick recovery of the yarn loops. (Au, 2011) However,
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the dimensional stability of knitted fabric is not good as that of
woven fabric. This is due to the relaxation shrinkage after knitting
process and felting shrinkage if wool is used.
2.5 Dyeing Technology
2.5.1 Principle of Dyeing
Dyeing is a process of thorough colouration of textiles. In a dyeing
process, efficiency of dyeing is directly proportional to the extent
of diffusion of dye at the interior of fibre. And, dye is attached
with fibre by some sort of forces, may be physical or chemical in nature.
All textile fibres consist of bundles of long molecular chains which
are held together in a single fibre by certain attractive forces. Within
a textile fibre, the molecular chains are aligned parallel to each
other and to the axis of the fibre. The attractive forces between the
chains exert their maximum effect to form compact masses of crystalline
character, and the region is so-called the crystalline regions.
Merging into the crystalline regions, are amorphous regions where the
molecular chains are disposed in random directions and the attractive
41
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forces between fibre chains are weaker. Along the spaces between the
molecular chains in these regions, water and substances, e.g. dyes,
diffused in can find their way into the fibre. Absorption of water
produces swelling of the fibre, which further facilitates the entry
of molecules of dyes. Besides, rise of temperature can increase the
accessibility of dyestuffs into fibre. Dye should migrate and diffuse
throughout the fibre freely.
2.5.2 Classification of Dyestuffs
Colouring materials, termed as ‘colorants’, can be mainly classified
into two types, dyes and pigments. Dyes are soluble in water, and are
able to penetrate into the fibre and having certain degree of
substantivity for it, while pigments are insoluble in water, and have
no substantitvity for a fibre, and held mechanically on the surface
of a fibre only. In this project, dyes are used as Shibori involves
the penetration of colours from dye liquor into the fibre, instead
of pigments which are mainly for textile printing.
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A dye is a colorant that has the substantivity for a substrate. Dyes
can be classified either according to their chemical structures or
according to their methods of application. A dye has three parts in
its structure – chromophore, chromogen and auxochrome – and is soluble
in a specific medium under certain conditions. Chromophore is an
unsaturated group that absorbs light and reflects it at specific angle
to give the hue; chromogen retains chromophore and plays a crucial
role to determine the final hue and its affinity for fibre, fastness,
stability, etc. while auxochrome is a substituted acidic or basic group
in dye structure to intensify depth of shade, e.g. –OH, –COOH,
SO3H, –NH2, –NH(CH3), etc. (Shenai, 1987; Finar, 1975). There is no
a single dye that is capable of dyeing all textile fibres. A specific
class of dye can only be applied to a given type of textile fibre.
The following is a table of common dye-class for major fibre types.
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Types of
Cellulosic
Proteinous
Fibres
Fibres
Classes
Azoic
Acid
Acid
Azoic
Basic
of Dyes
Direct
Chrome
Chrome
Disperse
Disperse
Reactive
Metal-complex
Disperse
Sulphur
Reactive
Metal-complex
Fibres
Polyamide
Polyester
Acrylic
& Acetate
Vat
The Table of Common Dye-class for Major Fibre Types.
2.5.3 Dyeing Process
The process of dyeing may be divided into three phases as the following:
Phase 1: Transportation of molecules of dyes from the dye-liquor to
the surface of the fibre.
Phase 2: Absorption of molecules of dye at the fibre surface.
Phase 3: Diffusion of the molecules of dye from surface of fibre to
the interior of the fibre.
Molecules of dye in the dye-liquor split up into two parts, positively
and negatively charged particles called ‘ions’, one of which is
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coloured. According to the dye-class to which the dye molecule belongs,
the coloured ion may be ‘cationic’ which is positively charged, or
‘anionic’ which is negatively charged.
For cationic or neutral dyestuffs, they are attracted by the negatively
charged surface of the fibres. However, most classes of dyestuffs are
anionic, and thus their approach to the fibre surface is supposed to
be resisted. By adding neutral electrolytes such as common salt (sodium
chloride) or Glauber’s Salt (Sodium Sulphate), this problem is solved.
These salts on dissolution in water produce a large number of positively
charged sodium ions which neutralize and attracted by the negatively
charged fibre surface allowing freer access of the coloured ions of
dyestuffs to the surface of fibre.
After the attaching to the fibre surface, the dye molecules then diffuse
along the fibre pores into its internal structure. To achieve that,
dye should migrate and diffuse throughout freely; this depends on size
and shape of fibre pores which are to give adequate passage to adsorbed
dye molecules. (Chakraborty, 2010) Assisted by attractive forces
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between dye molecules and internal parts of the fibre and also by
natural movement of dye molecules from a more concentrated to less
concentrates regions, diffusion continues until every part of the
fibre achieve the same concentration of dye molecules. The diffusion
of dye molecules from the fibre surface to its internal structure
accounts for almost the whole of the dyeing time.
2.6 Summary
The foundation for the research of background of Shibori techniques,
Shibori felting, chemical etching on metallic fabric, knitting
technology and dyeing technology were studied and reported with brief
introductions, principles underlined and application of the mentioned
techniques. Shibori has long been applied in fashion. However, woven
fabric is usually used for Shibori design, while knitted fabric is
still unpopular and under explored for Shibori design. Therefore,
application of Shibori on knitted fabric design is desired and worth
to be studied. Felting and chemical etching which are modern techniques
for Shibori, were selected to be a combined technique on knitted fabric
design. The significant literature study briefly described here shows
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a scope of Shibori felting and chemical etching applied on fashion,
which laid the context of the proposed project for knitted fabric design
with Shibori techniques.
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CHAPTER 3
DEVELOPMENT OF DESIGNS ON KNITS BY SHIBORI
3.1 Introduction
Designing knitted fabric with Shibori techniques applied on involves
two main design elements: texture and colours. In order to make use
of these two design elements, fibre used, dyestuffs used, knitting
machine and structures selected, and Shibori techniques applied should
be firstly understood as they contribute a lot on the two design
elements mentioned. In the following, the area mentioned above were
introduced and studied.
3.2 Development of Knitted fabric
Before dyeing with Shibori techniques applied, developing suitable
fabric is very important. This is because fabric, which is capable
for both felting and chemical etching, is required in this project.
In the following, materials, knitting machine and fabric structure
selected were studied.
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3.2.1 Materials
3.2.1.1 Wool Yarn and the Correlated Dyestuffs
One of the selected yarns was 100% Lambs Wool as shown in Figure 3-1.
Wool is an animal fibre which has scales on the surface. The scaled
surface is the main cause of felting shrinkage of wool as mentioned
in the previous chapter. The property of felting shrinkage of wool
contributes the possibility of applying Shibori felting on the fabric
with wool yarn. Therefore, 100% wool yarn was selected for the purpose
of Shibori felting.
Figure 3-1, 100% Lambs Wool
The selected correlated dyestuff for wool was acid dyes. Acid dyes
are mostly sulphuric or carboxylic acid salts and are essentially
applied from an acidic bath. (Chakraborty, 2010) Acid dyes possess
affinity for protein fibres and thus are commonly used in the dyeing
of wool. Each wool molecule has –NH2 and –COOH groups at either ends
which are capable of taking part in chemical reaction with molecules
of acid dyes. A wool molecule can be presented as H2N–Wool–COOH where
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‘Wool’ represents the rest structure of a wool molecule; a dye molecule
can be presented as R-SO3Na. The following is the mechanism of dyeing
of wool with acid dye.
1. Under water, the wool molecule will be ionized as H3N+–Wool–COO–.
2. In the acid bath, the negatively charged carboxylate ions (–COO-)of
wool molecule take up hydrogen ions (H+)released by acid into solution
and are transformed to carboxylic acid groups (–COOH). At the same
time, the acid anions (CH3COO–) released from acid are attracted by
the positively charged amino ends (–Wool–H3N+) as shown in the
following:
H3N+–Wool–COO– + H+CH3COO–(acid) ↔ H3N+CH3COO––Wool–COOH
3. The formed cation of wool (COOH–Wool–H3N+) from the previous stage
is then attracted with the dye anion (R–SO3–) through electrostatic
force forming ionic bond.
H3N+CH3COO––Wool–COOH + R–SO3–Na+(acid
dye)
→
R-SO3–COOH–Wool–H3N+ + CH3COONa (Chakraborty, 2010)
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CHAPTER 3
3.2.1.2 Metallic Yarn
The metallic yarns chosen for knitting in this project were produced
by the method of blending of metallic tapes produced by lamination
with nylon filament. The selected metallic yarn contained 62% Metallic
(Nylon film), 38% Wool-nylon in two different colours as shown in Figure
3-2. The yarn was produced by twisting the metallic thin strip with
a wooly-nylon filament. The metallic thin strip was produced by
sandwiching the aluminum foil between two layers of nylon films. (Jiang,
2005) The production process of this kind of metallic thin strip was
called lamination as mentioned in the previous chapter. The colour
of the metallic thin strip was achieved by the colour of the nylon
films. On the other hand, the aluminum foil was inherently silver in
colour. For example, the colour of the black metallic thin strip was
achieved by the black nylon films while the aluminum foil in between
was always sliver in colour.
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(a)
(b)
Figure 3-2, (a) Black metallic yarn
(b) Pink metallic yarn(62% Metallic
(Nylon film), 38% Wool-nylon)
The wooly-nylon filament twisted with the metallic thin strip was used
to increase the strength and elasticity of the whole metallic yarn
in order to make it more suitable for knitting.
3.2.1.3 Their Blends
The wool yarn and metallic yarn were blended by knitting them into
vertical stripes alternatively instead of knitting them as a single
yarn. The reason behind was to produce a vertical stripe effect as
part of the design and allowed the fabric produced could be capable
for both chemical etching and wool felting. Therefore, both the
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techniques can be applied at the same time during dyeing. An example
of the knitted fabric produced was shown in the following Figure 3-3,
more examples were shown in the following chapter 3.2.3 Knitting
structures: Float Jacquards.
Figure 3-3, Float jacquard knitted fabric with wool yarn (100% Lambs
Wool) and metallic yarn (62% Metallic (Nylon film), 38% Wooly-nylon)
3.2.2 Knitting Machine
The machine used was a flat bed knitting machine from Stoll as shown
in the following Figure 3-4. Stoll is one of the few knitting machines
manufacturers, which has been producing flat knitting machines for
more than 135 years. The company was founded in 1979 trading under
the name Mooser und Stoll electronic in Germany. As well as producing
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electronic components for knitting machines, this firm also developed
specific software for their machines.
The flat bed knitting machine used was a 14 gauge computer-controlled
V-bed knitting machine which was the model ‘CMS 822’. The machine was
equipped with a computer in which it had software ‘M1plus’. Once a
knitting programme was generated from ‘M1plus’, it could be transfer
to the machine and knitting action could be carried out.
Figure 3-4, STOLL CMS 822
3.2.3 Knitting structures: Float Jacquards
‘Jacquard’ is commonly refers to fabric knitting with patterns. Float
jacquard is formed from knit loops and miss loops as mention in the
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previous chapter. The colour pattern of float jacquard is achieved
by showing the loops of the wanted colour on the technical face of
the fabric while hiding the unwanted colour as a float yarn at the
technical back. That is the reason why it is so called ‘Float’ jacquard.
Float jacquard fabric was selected as it was a kind of single knitted
fabric in which the thickness was suitable for applying Shibori
techniques.
A set of float jacquard fabric as shown in Figure 3-5 below was developed
for experiments carried out in the following chapters.
(a)
(b)
(c)
(To be continued)
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(d)
(e)
(f)
Figure 3-5, (a) 1x1 stripping, float jacquard, with wool yarn (100%
Lambs Wool) and black metallic yarn (62% Aluminium
(Nylon film), 38% Wooly-nylon)
(b) 2x2 stripping, same as (a)
(c) 3x3 stripping, same as (a)
(d) 1x1 stripping, float jacquard, with wool yarn (100%
Lambs Wool) and pink metallic yarn (62% Aluminium
(Nylon film), 38% Wooly-nylon)
(e) 2x2 stripping, same as (d)
(f) 3x3 stripping, same as (d)
3.3 Combining Shibori Felting and Chemical Etching Techniques
Felting and chemical etching are two different techniques which are
capable for two different materials respectively. Moreover, principle
of felting and that of chemical etching are completely different. As
a result, in order to make it possible to combining felting and chemical
etching, selection of materials which capable for both techniques and
conditions which allow felting and chemical etching can take place
56
CHAPTER 3
at the same time are required. The following is the principle of
combining felting and chemical etching underlined.
3.3.1 Principle
In terms of selection of materials, felting is capable for wool fibre
while chemical etching is capable for metals as introduced in Chapter
2 Literature Review. Therefore, knitted fabric developed should
contain both wool and metallic content, in order to make it capable
for both felting and chemical etching. As a result, the knitted fabric
developed contained both wool and metallic content as shown in the
previous sub-chapter.
Aluminium (Al) was the selected metallic yarn for chemical etching.
After chemical etching, the area of the metallic fabric, which was
exposed to the solution of the correlated chemical reagent of Aluminium
(Al), was going to be etched leaving the original colour of the fabric
mentioned in chapter 2. In an etching bath, Aluminium (Al) was going
to be dissolved by its correlated chemical reagent, Sodium Carbonate
(Na2CO3). The etching bath was a hot solution of Sodium Carbonate (Na2CO3)
57
CHAPTER 3
prepared by dissolving Soda into water and then raising temperature
to 100℃ .
Apart from providing chemicals for the etching of Aluminium (Al), the
etching bath also provided suitable conditions for felting of wool
to take place. The etching bath is a solution of hot water and alkaline,
in which can promote the felting of wool as mentioned in chapter 2.
Hot water allows wool fibre to swell and hence leading the scales on
the fibre surface to push more outward, in which promotes the
directional frictional effect resulting felting shrinkage. Alkaline
condition enhances the scales on wool fibre to tangle and hold together,
thus the felting shrinkage of wool is further promoted. With the action
of agitation, the effect of felting of wool will be further enhanced.
As a result, an etching bath can provide conditions for both felting
and chemical etching to take place.
58
CHAPTER 3
CHAPTER 4
EXPERIMENTS OF COMBINING SHIBORI FELTING AND
CHEMICAL ETCHING TECHNIQUES
4.1 Introduction
Before any application of knitted fabric with Shibori felting and
chemical etching techniques on fashion or other areas, experiments
of applying combined techniques of Shibori felting and chemical
etching on selected knitted fabric were carried out to produce fabric
samples for further development. Two experiments were carried out and
reported as below. Experiment 1 was aimed at producing trial fabric
samples for Experiment 2. The trial fabric samples selected from
Experiment 1 were further developed in Experiment 2. Fabric samples
produced from Experiment 2 were applied on accessory design in the
upcoming chapter.
4.2 Experiment 1
Objective of Experiment 1 was to produce trial fabric samples in which
with both Shibori felting and chemical etching techniques applied for
59
CHAPTER 4
further development in Experiment 2. The principle of combining
Shibori felting and chemical etching was explained in the previous
chapter. Materials used and experimental procedures were recorded as
below. And the results were concluded and analyzed.
4.2.1 Materials
4.2.1.1 Developed Knitted Fabric
Developed knitted fabric were float jacquard fabric knitted in
different width of vertical stripping with 100% Lambs Wool yarn and
coloured 62% Aluminium (Nylon film), 38% Wooly-nylon yarn. Developed
knitted fabrics for Experiment 1 were shown in the following Figure
4-1.
(a)
(b)
(c)
(To be continued)
60
CHAPTER 4
(d)
(e)
(f)
Figure 4-1, (a) 1x1 stripping, float jacquard, with wool yarn (100%
Lambs Wool) and black metallic yarn (62% Aluminium
(Nylon film), 38% Wooly-nylon)
(b) 2x2 stripping, same as (a)
(c) 3x3 stripping, same as (a)
(d) 1x1 stripping, float jacquard, with wool yarn (100%
Lambs Wool) and pink metallic yarn (62% Aluminium
(Nylon film), 38% Wooly-nylon)
(e) 2x2 stripping, same as (d)
(f) 3x3 stripping, same as (d)
4.2.1.2 Dyestuffs
Dyestuff used was ‘Acid Dye’ as it was the correlated dyestuff for
wool as mentioned in the previous chapter. The chemical reaction
between wool molecules and acid dye molecules was simplified and shown
as below:
H3N+CH3COO––Wool–COOH(wool
in acid bath)
+ R–SO3–Na+(acid
dye)
→
R-SO3–COOH–Wool–H3N+ + CH3COONa
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CHAPTER 4
The details of the dye bath prepared were listed below and shown in
Figure 4-2:
1. Dye: Acid dye in blue colour
2. pH: 5
3. Temperature: 100℃
Figure 4-2, Dye bath prepared
4.2.1.3 Chemicals for Chemical Etching
The etching bath was a hot solution of Sodium Carbonate (Na2CO3)
prepared by dissolving Soda, Sodium Carbonate (Na2CO3) into water and
then raising temperature to 100 ℃ . Sodium Carbonate (Na2CO3) can
dissolve Aluminium (Al) in the metallic yarn selected. Soda, Sodium
Carbonate (Na2CO3) was used because it is mild and has less destructive
power to fabric, and it has effective corrosion of Aluminium at the
same time. (Jiang, 2004)
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CHAPTER 4
The details of the etching solution prepared were listed below and
shown in Figure 4-3:
1. Chemical: Soda solution (Na2CO3)
2. pH: 11
3. Temperature: 100℃
Figure 4-3, Etching solution prepared
4.2.1.4 Equipment and Tools
Reused chess, flex thread, wooden stick, clips and beads etc. were
used to create different shapes and coverage preventing from being
etched and dyed. The equipment and tools used were shown in Figure
4-4.
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CHAPTER 4
(a)
(b)
(c)
(d)
Figure 4-4, (a) Chess, (b) Flex thread, (c) wooden stick, (d) clips
4.2.2 Procedures
The developed knitted fabrics were treated with three main steps as
shown in the following steps:
1. Fabric treated by applying Shibori techniques
↓
2. Chemical etching
↓
3. Dyeing
The experimental procedures of each step were listed as the following:
1. Fabric treated by applying Shibori techniques :
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CHAPTER 4
1. Shibori techniques were applied on the developed knitted fabric.
They were folded, crumpled, twisted and gathered as shown in Figure
4-5.
Figure 4-5, Fabric with Shibori techniques applied
2. Chemical etching :
1. The fabric prepared were immersed into the prepared etching solution
for 1 to 10 minutes.
2. The etching solution and fabric were stirred in order to achieve
better felting and etching effect.
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CHAPTER 4
3. The treated fabric were then rinsed well in running water to remove
residue chemicals before dyeing.
3. Dyeing :
1. The etched fabric were then dyed in the prepared acid dye bath.
2. The dyeing solution and fabric were stirred in order to achieve
better felting and dyeing effect.
3. The dyed fabric was then rinsed in running water to remove unfixed
dyestuff and other chemicals.
4. The equipment and tools were removed, and the rinsed fabric were
finally dried.
4.2.3 Results
The obtained results were classified into three categories as below:
1. Samples of gradient dyed effect without Shibori techniques applied
2. Samples of two-dimensional effect with Shibori techniques applied
3. Samples of three-dimensional effect with Shibori techniques
applied
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CHAPTER 4
Original fabric, their middle stages and the resulted samples of each
category were shown in the following respectively.
Category 1: Samples of gradient dyed effect without Shibori techniques
applied as shown in Figure 4-6.
(i)Original fabric
(ai)
(ii)Resulted fabric
(aii)
(bi)
(bii)
(ci)
(cii)
Figure 4-6, Samples of Category 1
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CHAPTER 4
Category 2: Samples of two-dimensional effect with Shibori techniques
applied as shown in Figure 4-7.
(i)Original fabric
(ii)Middle stage
(iii)Resulted fabric
(di)
(dii)
(diii)
(ei)
(eii)
(eiii)
(fi)
(fii)
(fiii)
(gi)
(gii)
(giii)
(To be continued)
68
CHAPTER 4
(hi)
(hii)
(hiii)
Figure 4-7, Samples of Category 2
Category
3:
Samples
of
three-dimensional
effect
with
Shibori
techniques applied as shown in Figure 4-8.
(i)Original fabric
(i-i)
(ii)Middle stage
(i-ii)
(iii)Resulted fabric
(i-iii)
(ji)
(jii)
(jiii)
(ki)
(kii)
(kiii)
Figure 4-8, Samples of Category 3
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CHAPTER 4
Summary of all the results was shown in the following Figure 4-9.
(a)
(b)
(c)
(d)
(e)
(f)
(To be continued)
70
CHAPTER 4
(g)
(h)
(i)
(j)
(k)
Figure 4-9, (a), (b), (c): Samples of Category 1
(d), (e), (f), (g), (h): Samples of Category 2
(i), (j), (k): Samples of Category 3
71
CHAPTER 4
4.2.4 Conclusion and Analysis of the Results
The (i) etching effect and the (ii) three-dimensional effect of the
trial fabric samples above were concluded and analyzed as below:
(i) Etching Effect
The area tied, gathered and covered by applying different Shibori
techniques were prevented from etching and felting while the other
area exposed to the etching solution was undergoing chemical etching
and felting. For the samples of category 1, all were undergoing gradient
etching and then dyeing, which produced a combined effect of gradient
shininess and gradient blue colour. For samples of category 2and 3,
fabric were tied, clipped and gathered etc. where prevented etching
and dyeing from taking place. The area without being etched and dyed
showed the shininess of the metallic yarn and the original colour of
the fabric. The most obvious etching effect can be found from sample
(h) and (i). The white area of the two mentioned samples were shinier
then the area being etched and dyed in blue.
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CHAPTER 4
(ii) Three-dimensional Effect
The three-dimensional effect was created by felting of wool. Among
the samples of the three categories, samples of category 3 got the
most obvious three-dimensional effect. For sample (i), the blue dyed
area was undergoing felting, etching and dyeing; and the felted area
was hardened, which created little permanent pleats. For sample (j)
and (k), more obvious three-dimensional effect could be observed. This
was achieved by firstly inserting chesses to the fabric and then tied,
secondly allowing felting to take place. The fabric area inserted with
chesses was under tension which didn’t allow the wool of that area
to undergo felting, while the fabric area without inserting chesses
was allowed to undergo felting. As a result, the shape of sample (j)
and (k) was permanent set and the three-dimensional effect was created.
According to the results of the trial samples, sample (h), (i) got
the best effect of chemical etching on metallic yarn, while fabric
(i), (j) and (k) got the best effect of three-dimensional effect. As
a result, sample (h), (i), (j) and (k) were selected to be further
developed in Experiment 2.
73
CHAPTER 4
4.3 Experiment 2
Objective of Experiment 2 was to produce samples based on the trial
fabric samples produced from Experiment 1, for further design
development in chapter 5. The principle of combining Shibori felting
and chemical etching was the same as that of Experiment 1. Materials
used and experimental procedures were similar to Experiment 1. And
the results were concluded and analyzed.
4.3.1 Materials
4.3.1.1 Developed Knitted Fabric
The developed knitted fabrics used were the same as that of Experiment
1.
4.3.1.2 Dyestuffs
The dyestuff used and its condition were the same as that of Experiment
1 except that a red acid dye bath was added in order to create more
colour combination as shown in Figure 4-10.
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CHAPTER 4
(a)
(b)
Figure 4-10, (a) Blue dye bath and (b) Red dye bath prepared
4.3.1.3 Chemicals for Chemical Etching
The chemicals and conditions of the etching solution were the same
as that of Experiment 1.
4.3.1.4 Equipment and Tools
The equipment and tools used were slightly different from Experiment
1, in which beads, needle-and-threads and coarse threads were used
as shown in Figure 4-11. According to trial fabric sample (j) and (k),
method of inserting subjects into the fabric could create a better
effect of three-dimensional effect. Therefore, beads were inserted
into the fabric in order to obtain a better three-dimensional effect.
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CHAPTER 4
(a)
(b)
(c)
(d)
(e)
(f)
Figure 4-11, (a), (b), (c), (d), (e): Beads with different shapes
(f): Needle-and-threads, coarse thread
4.3.2 Procedures
The procedures were the same as that of Experiment 1.
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CHAPTER 4
4.3.3 Results
Original fabric, their middle stages and the resulted samples were
shown in the following Figure 4-12 respectively.
(i)Original fabric
(ai)
(ii)Middle stage
(aii)
(iii)Resulted fabric
(aiii)
(bi)
(bii)
(biii)
(ci)
(cii)
(ciii)
(di)
(dii)
(diii)
(To be continued)
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CHAPTER 4
(ei)
(eii)
(eiii)
(fi)
(fii)
(fiii)
(gi)
(gii)
(giii)
Figure 4-12, (ai),(bi): Fabric (a) mentioned in 4.2.1.1
(ci): Fabric (c) mentioned in 4.2.1.1
(di), (gi): Technical back of Fabric (a) mentioned
in 4.2.1.1
(ei), (fi): Fabric (d) mentioned in 4.2.1.1
(aii) to (gii): Middle stages of samples
(aiii) to (giii): Resulted samples
Summary of all the results was shown in the following Figure 4-13 in
the next page.
78
CHAPTER 4
(a)
(b)
(c)
(d)
(e)
(f)
(g)
Figure 4-13, Resulted samples of Experiment 2
79
CHAPTER 4
4.3.4 Conclusion and Analysis of the Results
The (i) etching effect and the (ii) three-dimensional effect of the
samples above were concluded and analyzed as below:
(i) Etching Effect
Sample (e) and (f) had the most obvious etching effect. The metallic
colour of the fabric was almost removed leaving a subtle metallic look
of the fabric. Sample (a), (b), (c), (d) and (g) had less obvious etching
effect as black metallic yarn used in which the black colour of the
nylon film made the etching effect less obvious.
(ii) Three-dimensional Effect
The three-dimensional effect obtained from all the samples produced
was as good as expected. This was due to the method of insertion of
objects into the fabric was effective. Besides, after felting, the
shape was permanent set which allowed three-dimensional effect to be
created. The three dimensional effect of sample (a) to (f) were created
by insertion of bead while that of sample (g) was created by pleating.
80
CHAPTER 4
4.4 Summary of the Results
Selected trial samples produced from Experiment 1 were further
developed in Experiment 2, in order to obtain a more desirable effect
of chemical etching on metal and three-dimensional effect achieved
by felting of wool. The etching effect achieved was contributed by
the suitable selection of yarn content which was metallic yarn in which
was capable for chemical etching. On the other hand, the desirable
three-dimensional effect achieved was contributed by both the suitable
selection of yarn content which was wool in which was capable for
felting; and also the suitable selection of fabric structure which
was knitted jacquard fabric in which allowed to be under more tension
because of the high elasticity of knitted structure.
The results obtained showed the possibility and the desirability of
applying techniques of chemical etching and Shibori felting on knits.
Under the two experiments, a collection of samples were produced for
further design purpose and application as the following chapter.
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CHAPTER 4
CHAPTER 5
CREATION OF DESIGNS ON KNITS BY SHIBORI
5.1 Introduction
The purpose of this chapter was to explore the creation of designs
using samples produced by applying combined techniques of Shibori
felting
and
chemical
etching
on
knitted
fabric.
Through
the
integration of design concept and inspiration, the samples produced
in Experiment 2 were further developed into a collection of fashion
accessories. The designs were progressed from initial ideas to outcome
of the collection.
5.2 Design Concept
The design concept behind was to make use of the stripping effect of
the knitted jacquard fabric, the combined techniques of felting of
wool and chemical etching of metal on knitted fabric and the colour
effect obtained from Shibori dyeing, to create a collection of fashion
accessories. The reason for choosing accessories design was the
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CHAPTER 5
relatively small size of the samples produced, which were suitable
for making accessories.
In this proposed project, the creation of designs was achieved by three
elements: (i) material, (ii) technology and (iii) design as shown
below:
(i) Material: Knitted fabric made of wool and metallic yarn
(ii) Technology: Felting and Chemical etching
(iii) Design: From inspiration to final accessory products
5.3 Design Inspiration
The design inspiration for this collection was from an artist Jen Stark.
Jen Stark is a contemporary artist born in 1983 in Miami, Florida,
who is famous of creating paper sculptures. Apart from paper sculpture
creation, she works on animation and drawing too. Her inspirations
are mainly from microscopic patterns discovered from wormholes, nature,
and anatomy. She studied at the Maryland Institute College of Art,
and graduated from Magna Cum Laude with a BFA majoring in Fibers with
a minor in Animation. Her works were exhibited in various galleries
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CHAPTER 5
around the U.S., such as the Museum of Contemporary Art, the Museum
of Art Fort Lauderdale, the Girls' Club Collection in Miami. In 2008,
she became a recipient of the prestigious South Florida Cultural
Consortium's Visual and Media Artists Fellowship.
Stark’s design concepts are from infinity and replication, intelligent
designs and echoing patterns found in nature and surrounding. Jen
Stark's
oeuvre
of
methodologically
and
optically
stimulating
sculptures and drawings has enjoyed a mood of renaissance since
expanding her medium from paper to include wood and even mirrors. Her
signature creations combine a variety of materials which act as
catalyst for further established spiritual proclivity as expressed
through repeated and hypotonic configurations. Some of her creations
were shown in Figure 5-1 and Figure 5-2.
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CHAPTER 5
Figure 5-1, Event Deck at L.A. Live,
1005 West Chick Hearn Court,
Downtown Los Angeles, California, (Jen Stark, 2011)
(a)
(b)
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CHAPTER 5
(To be continued)
(c)
(d)
(e)
Figure 5-2, (a) to (e): Works for HI-FRUCTOSE v.2, (Jen stark, 2011)
From her work, a conclusion of her style can be traced. Her designs
are a kind of optical illusion. An optical illusion is characterized
by visually perceived images that differ from objective reality.
(Wikipedia) There are mainly three types of optical illusion: literal
optical illusions that create images which are different from the
original objects generating that images; physiological illusions that
86
CHAPTER 5
are created from the effects on the eyes and brain generated by
excessive stimulation from colour, brightness, size, position,
movement,
tilt
etc.;
and
cognitive
illusions,
the
result
of
unconscious inferences. Jen Stark creates optical illusion by layers
and lines which provided inspiration for the following collection of
accessories.
5.4 Design Collection
After developing the design concept and inspiration, the samples
produced from Experiment 2 were used to create a collection of
accessories. The stripping effect of the knitted fabric, the gradient
shiny surface of the metallic yarn after chemical etching, the felting
effect of the wool yarn which created a three-dimensional effect and
the colours applied had contributed a lot on the creation of optical
illusion effect inspired by Jen Stark. The followings were a collection
of seven accessory items.
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CHAPTER 5
(a) Detail of fabric design
(b) Application of fabric design
Figure 5-3, AD-01 Necklace
88
CHAPTER 5
(a) Detail of fabric design
(b) Application of fabric design
Figure 5-4, AD-02 Necklace
89
CHAPTER 5
(a) Detail of fabric design
(b) Application of fabric design
Figure 5-5, AD-03 Bracelet
90
CHAPTER 5
(a) Detail of fabric design
(b) Application of fabric design
Figure 5-6, AD-04 Bracelet
91
CHAPTER 5
(a) Detail of fabric design
(b) Application of fabric design
Figure 5-7, AD-05 Bracelet
92
CHAPTER 5
(a) Detail of fabric design
(b) Application of fabric design
Figure 5-8, AD-06 Bracelet
93
CHAPTER 5
(a) Detail of fabric design
(b) Application of fabric design
Figure 5-9, AD-07 Necklace
94
CHAPTER 5
5.5 Summary
This collection of accessories was created from three elements:
materials, techniques and design. Materials with techniques applied
were prepared in Experiment 2 as mentioned in chapter 4. Then, the
samples
produced
were
further
developed
into
a
collection
of
accessories according to the design concept and inspiration.
Being inspired by the artwork from Jen stark, this collection was to
express the optical illusion effect making use of the stripping pattern
of the fabric, the shiny surface and colours achieved by etching of
metal and dyeing, and the three-dimensional effect achieved by felting
of wool.
AD-01 to AD-06 showed different colours of gradient purple achieved
by dyeing with blue and red dye. The shininess was contributed by the
metallic yarn. The three-dimensional effect was achieved by inserting
different sizes of beads and allowed to undergo felting in the etching
bath. For AD-07, the three-dimensional effect was achieved by tying
the fabric in different intervals and allowed to undergo felting in
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CHAPTER 5
the etching bath, and the outcome was waved edges. For AD-05 and AD-06,
the etching effect was the most obvious, in which showed a pink, subtle,
shiny surface of the fabric after etching.
For
AD-01
to
AD-07,
the
shiny
stripes
together
with
the
three-dimensional effect achieved, and the gradient colour of purple
gave an optical illusion effect similar to the design concept and
inspiration mentioned.
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CHAPTER 5
CHAPTER 6
CONCLUSIONS and RECOMMENDATIONS
6.1 Conclusions
This project is aimed at exploring the potential of application of
different Shibori techniques on knitted fabrics by a combination of
Shibori techniques, chemical etching on metallic textile and felting
on wool, hence, introduces a new dimension of knitted fabric design.
In order to achieve the ultimate goal of the proposed project, the
present study had completed five major tasks, i.e. (1) to introduce
an innovative design concept for textile design on knitted fabric by
combing certain Shibori techniques; (2) to design knitted fabrics with
the concern of fabric contents, structures, colours and treatment
technology; (3) to establish textile design models of knitted fabric
designs by Shibori techniques, and to select appropriate physical and
chemical treatment methods; (4) to evaluate the aesthetics of the
Shibori applied knitted fabrics by analytical techniques; (5) to add
a new value on knitted fabric and to apply the designs on fashion area.
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CHAPTER 6
Based on the five achievements mentioned, the following points were
emerged as a conclusion for the whole project.
1. Shibori is a shaped-resist dyeing technique from Japan, can be used
to create fabric patterns with three-dimensional effect instead
of only two-dimensional patterns. Instead of woven fabric that was
usually used in Shibori, knitted fabric was used in turn in the
proposed project. An innovative design concept was developed by
combining Shibori techniques, chemical etching and Shibori felting;
and was applied on knitted fabric design successfully. The outcome
was as expected to explore a new dimension of textile design on
knits.
2. Fabric contents, structures, colours and treatment technology
contributed a lot on the design of knitted fabric. Metallic yarns
and wool yarns were the selected contents as metals and wool were
capable for chemical etching and felting respectively. Besides,
Jacquard fabric (stripping), colour of gradient purple together
with etching effect created from chemical etching of Aluminium and
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CHAPTER 6
three-dimensional effect created from felting, contributed a lot
on the design of knitted fabric.
3. Two experiments were carried out to establish textile design models
of knitted fabric designs by applying combined techniques of
chemical etching on metal and felting on wool. By firstly folded,
crumpled, twisted and gathered etc by different equipment and tool;
and then treated in etching bath and dyeing bath, two sets of fabric
samples were produced for further development.
4. The etching effect and the three-dimensional effect of fabric
samples produced were analyzed by analytical techniques. According
to the analysis of the fabric samples from Experiment 1, fabric
samples were selected for further development in Experiment 2. The
fabric samples obtained from Experiment 2 were further developed
into a collection of accessories based on the design concept and
inspiration.
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CHAPTER 6
5. By applying combined techniques of chemical etching and Shibori
felting, Shibori techniques, a new value was added on knitted fabric
design. The knitted fabrics produced were further applied on
accessory design. Therefore, a new dimension of knitted fabric
design was introduced and investigated, in which was the ultimate
objective of the proposed project.
6.2 Recommendations
The proposed project had provide an innovative way on knitted fabric
design by applying traditional Shibori techniques with chemical
etching on metal and felting on wool, in which the etching effect of
metal and the three-dimensional effect of wool were proposed to be
achieved. As applying Shibori techniques on knitted fabric design is
still not popular and under-investigated, these recommendations
suggest some useful ideas which will promote further development of
Shibori techniques on knitted fabric.
1. In order to achieve better etching effect of metal, dark colour
metallic yarns should be avoided. This was because dark colour of
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CHAPTER 6
the film will make the etching effect of metal less obvious than
that of light colour metallic yarn.
2. On the other hand, in order to obtain a better three-dimensional
effect, the fabric density of the knitted fabric for felting can
be lower, so that the contrast between felted and without felted
can be more obvious.
3. The developed collection proved the possibility and desirability
of applying Shibori techniques of chemical etching of metal and
felting of wool on knits. The recommendations are for future
consideration of further development of knitted fabric design with
Shibori techniques of chemical etching of metal and felting of wool.
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