This thesis investigates textile-forms—textile-based artefacts designed through the integrated consideration of textile (matter) and form (artefact). Building on the concept of Multimorphism, which views textiles as a material system spanning material, social, and ecological scales, this research addresses the challenges of designing interactions deeply rooted in the textile material system.
Grounded in the Materials Experience framework, the thesis examines textile-forms' performativity—their capacity to invite action—and their multi-situatedness, or adaptability to diverse contexts. Using a mixed-methods Research-through-Design (RtD) approach, the research investigates textile-forms' performativity across three levels: design practice, interaction, and user experience. Two series of woven textile-forms, created through weaving and multi-layer weaving techniques, explore how specific textile qualities contribute to performativity and how textile-forms can be designed for everyday use. Empirical studies reveal that textile-forms with unpredictable behaviours and multiple embedded states encourage creative actions and reflective experiences. However, the studies also highlight challenges, such as user confusion caused by open-ended functionality and evolving material states.
This thesis demonstrates how designers can use textile-form thinking to leverage textiles' performativity, enabling rich interaction possibilities inherent to their textileness. It also emphasizes the gap between textile-forms' potential for richer interactions and user acceptance. In conclusion, the work advocates for multimorphic thinking, promoting holistic and ecological approaches to designing interactions with textiles that embrace their unique temporal, unpredictable, and multi-situated qualities.@en

Current practices in the textile industry significantly contribute to environmental and social issues. Textile-forms have potential to support the transition towards a more sustainable system, but woven textile-forms are currently rare due to most looms being designed to solely create flat sheets of fabric. The possibilities for woven textile-forms, if the fabric could be shaped directly on the loom, have therefore been left unexplored. This project proposes a way to change the weaving process and the loom to enable the creation of 3D and non-rectangular 2D fabrics. An add-on is introduced that can provide standard looms with the required functionalities, which was validated with a functional prototype for a Magic Dobby shaft loom. The assortment of 3D and non-rectangular 2D fabric samples created with use of the add-on prototype show the potential of the proposed method and tool for creating textile products while requiring less post-processing and eliminating waste.

The fashion industry is facing complex environmental challenges, and a need for change is prevalent for the industry to move towards circular economies. 3D weaving emerges as an innovative approach to garment design and production, allowing for novel processes that capture the opportunities missed by current linear systems. 3D weaving of integrated multilayer Jacquard fabrics for denim garments shows potential for increased efficiency, reduced environmental impact, new design avenues and unprecedented levels of automation in future processes.

This project sets out to research the practical application of 3D weaving for the sustainable design and production of denim garments. It explores the opportunities, limitations and execution of 3D weaving for creating a pair of 5-pocket denim jeans in existing supply chains (production samples provided by Diamond Denim). This report of the process acts as a practical guide for further adoption of 3D woven denim in academia and the industry. A production prototype is developed to showcase the benefits of 3D weaving for denim design and production, while also evaluating the implications of this particular zero waste design for 3D weaving and the industry as a whole.

Evaluation of the design results suggest that this application of 3D weaving could potentially: Reduce stitch length by 40%, reduce pre-consumer waste by 20%, reduce water usage by 25%, eliminate use of micro plastics and become 100% recyclable. Further improvements are expected when the technology finds further adoption in the industry. A majority of industry respondents (n16) expressed interest in the technology, estimating that commercial application is feasible within the next 3-5 years with a production price increase that does not exceed 25% compared to conventional denim jeans. Further potential lies in tackling online returns, overstockage, made on demand systems, user customization and further optimization of the technology for increased efficiency and reduced cost.

Overall, 3D weaving presents itself as a new fundamental tool in sustainable fashion design, one that requires new levels of expertise and industry alignment. Further, while future research and development helps to overcome limitations in the process of 3D weaving, the proof of concept presented in this report concludes that this process can already be done with existing machinery.

Innovations such as 3D weaving may find resistance while gaining wider adoption as their implications require a major shift in current processes, often straying away from common practices that feel safer from an economic perspective. Mitigating some of the risk through development in academic settings may help to persuade businesses to adapt pivotal methods like 3D weaving sooner, as the groundwork has already been done. This underscores the need for academic research through projects focussing on sustainable design and innovation.

This thesis project is a research and design work created for the master’s diploma in Integrated Product Design, TU Delft, aiming to explore the relationship between woven textiles and product design in the context of interior spaces, through the lens of autonomous activation and motion for better living environment. Textiles can acquire shape shifting properties thanks to electronic actuators and other times thanks to the inherent properties of the materials themselves. In this case, using the Material Driven Design methodology, woven textiles were designed to be able to integrate Shape Memory Alloy wires acting as actuators without the use of electric current. The input is the heat from the environment and the output is the shape change and consequently the user’s experience while interacting with the product. Contribution to physical and psychological wellbeing is the ultimate goal of this interaction. The main tool for the exploration of the woven forms was the digital Jacquard TC2 loom which is known in the textile practice as a tool for quick iterations and intricate structures and patterns. After analysing the basic features of the materials through the tinkering process, four concept forms with different textile structures were created. These were tested on technical level to discover the biggest potentials of the system on shape change and on experiential level with user tests to distinguish the material qualities of the textile that promote wellbeing. Considering the findings from both of the studies, new considerations emerged and one final concept was created and manufactured. It represented an autonomous sun shading system to regulate natural light for interiors and thus provide thermal comfort. The project concludes with the final insights about weaving and shape change and any existing limitations and suggestions for further exploration and testing of the product.

Today’s fashion industry is characterised by a continuous cycle of rapid production, early disposal, low-quality materials, and pre- and post-consumer waste, with consequential environmental damage and social injustice. The production of denim involves a resource-intensive and lengthy supply chain, in which a lack of evolution in design over the past 150 years is coupled with significant pre-consumer waste.

This highlights the need to reevaluate the design and manufacturing process. Conventional pattern designs result in a significant portion of newly woven material sent to incineration and landfill. 3D weaving presents an innovative niche design-manufacturing technique, allowing for the creation of multi-layered structures with interwoven ‘seams’. This enables the production of nearly complete garments, while aiming for zero waste and reducing labour-intensive steps at the cut and sew stage.

To unlock the potential of 3D woven denim and demonstrate how such niche techniques can be utilised to achieve systemic change, a Systems-Oriented design approach is adopted. The research project analyses the complex denim supply chain and delves into the meaning of current and 3D woven denim. Field research at a denim mill in Pakistan formed the basis of a general ecosystem map, addressing various layers of the system from the final lens of the Dutch denim market. This includes material flow, fashion brands, consumers, post-disposal stage, government influence, and certifications. Further collaboration with 3D weaving experts, denim mills, designers, and user research supported the multifaceted approach.

The project concludes with a Systems-Oriented strategy to establish a local Dutch eco-label for 3D woven denim, alongside traditional denim: New-Fashioned Denim Dimensions. By involving relevant stakeholders in the denim system, including major brands and suppliers, an initiative structure and implementation roadmap are developed. The roadmap outlines key actions, such as refining zero-waste patterns, developing equipment and creating a training programme, necessary to establish local, vertical 3D weaving supply chain behind the label. The ultimate aim is to create a cascading effect, inspiring denim brands to further explore future transitions towards local and sustainable models in the broader fashion industry, extending beyond the realm of 3D weaving.

The textile and fashion industry, with its complex supply chain from fiber production to retail, employs harmful chemicals, posing risks to the environment and workers. Fast fashion has intensified clothing production, leading to extensive textile waste. Consequently, it has fostered a more ephemeral and less emotionally durable connection with garments, emphasizing the need for sustainability through textile changes.
Designers who work with textiles have a tendency to view woven fabrics as unchanging, or static, materials. However, to truly utilize the benefits of textiles, a deeper understanding of how these fabrics can be designed to exhibit responsive behaviors in their use is required. This involves exploring and utilizing their inherent properties to create interactive systems that are dynamic and adaptive.
Textile motifs have been an integral part of human culture for centuries, reflecting various artistic, cultural, and social influences. With the advent of technology and the growing interest in interactive and transformative fashion, the concept of dynamic textile motifs has emerged as an exciting and innovative field of exploration. This project delves into this topic, investigating their potential to revolutionize the way we perceive and interact with garments.
The study begins with a comprehensive analysis of traditional textile motifs and the tools utilized in the creation of these. It further focuses on exploring their color-changing capabilities by aging, unveiling the potential of incorporating interactive elements and responsive features into fabrics, such as experimental compositions and new jacquard woven constructions.
The research seeks to enhance understanding and foster new methodologies, enabling unique and engaging experiences for users. Tools like Material-Driven Design, material tinkering, experiential characterization, and experience trajectories in longitudinal study revealed to be essential for the findings of the research.
Throughout the study, the topic shifts towards the conceptualization and creation of dynamic textile motifs that respond over time to various stimuli. Weaving, dyeing, and aging tests for discoloration/coloration through different environmental factors are some of the techniques that helped the study to showcase examples of responsive textiles or garments, where motifs adapt to the wearer’s actions over time. Moreover, the project emphasizes the importance of sustainability and eco-conscious practices in the development of dynamic textiles. It highlights the potential of utilizing natural dyes, organic materials, and circular fashion principles to ensure the responsible production and longevity of interactive garments.
This thesis also explores the user experience aspect, analyzing how wearers perceive and engage with dynamic textile motifs. By studying user interactions, preferences, and feedback, the abstract addresses the challenges and opportunities in making dynamic textile motifs an enjoyable experience for diverse audiences.
When combining all of the elements of this research creating a new fabric is still not a desirable outcome. If people could reuse existing textiles and a dyeing guide the longevity and satisfaction from a garment could be highly extended. I believe a product-service system can be created to facilitate such a product.
Finally, this project demonstrates dynamic textiles as an exciting and transformational option in the world of fashion. It emphasizes their ability to break down traditional barriers, improving wearers’ self-expression and emotional connection with clothing.

India is burdened by a variety of waste streams originating from both domestic and non-domestic sources, as a result of both production and consumption activities. The current infrastructure presents a challenge in handling these waste streams, resulting in a substantial volume of waste being mismanaged, losing value, and more concerningly, harming local communities and the environment.

This project employed systemic design to explore a circular approach to this issue, namely to create value from textile waste, and how these activities may be enabled through a communication means. Cotton-based textile waste generated by first-tier garment manufacturers in India was placed as a system of interest. Through primary and secondary research, further understanding of the system was gathered. Three methods of analysis yielded insights on the stakeholders, (value creation) activities, material flow, as well as barriers and drivers of value creation. Ideas collected from creative brainstorming sessions, combined with research insights, produced potential leverage points for interventions in the system, that led to the formulation of a design direction and a future vision.

An intervention in the form of an online knowledge base was conceptualised with the intent of closing knowledge gaps on circularity and the textile value chain, in order to propel informed circular actions from a system lens. It is targeted toward (potential) value creators with an existing motivation to create solutions for textile waste. The way of communicating information was built upon learnings from card sorting activities and the Three Horizons framework. Evaluation with the potential audience showed that the concept offered a valuable knowledge foundation in developing textile waste solutions. Additionally, it highlighted that more interventions would indeed be necessary to translate motivation into action. Learnings from the evaluation sessions were then incorporated into the concept iteration as well as future recommendations.

This project was organised with Enviu as client partner, as part of the Putting Waste to Work project in partnership with Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ), Concordia Textiles, and Purfi Global.

Textiles are unimaginable out of our lives - from the moment a human is born until existence stops - textiles are touched by wearing, seeing and feeling them. Where it once was fundamental for survival, today, the textile industry has grown towards a system that prioritises speed, efficiency and uniformity (Goldsworthy & Politowicz, 2018) while largely neglecting the impact of waste, mass production and material extraction. The industry designed a system that prioritises the desires of form, function, aesthetics and cost above the environment.

A design process with a systemic lens acknowledges waste as an essential element in the system, enabling an execution providing for a circular economy.

The exploration consists of technological, experiential and aesthetical research of woollen Woven Textile-form in which the shape-changing properties of wool fibres make them morphic Textile-forms. The potential for a circular economy, using biodegradable, recyclable, mono-material widens the scope towards multimorphic Textile-form (McQuillan & Karana, 2022).

This research aimed to unfold techno-aesthetics emerging from material expressions through woollen woven Textile-form exploration in a circular economy. Experiential Characterisation (Camere & Karana, 2018) unfolds the material experiences of the created samples, identifying a new aesthetic formed by materiality.

Techno-aesthetics (Dalmasso, 2019) questions the origin and nature of aesthetical values concerning technology, demonstrating the necessary value change of perception and expectations of the typical textiles and textile-based products and potentially beyond when a sustainable design outcome is a goal.

All together, this should make us seriously question the appropriate perception and expectations of typical textiles and textile-based products and potentially beyond when a sustainable design outcome is a goal. Woollen Woven Textile-form and Morphic Textile-Form methods, together, may create a new understanding of materiality to move towards Multimorphic Textile-form. This research suggests embracing material traces induced by exploring methods such as Woollen Woven Textile-form methods to unfold ‘new circular techno–aesthetics’ to create an understanding of materiality and move towards a circular economy.

Embracing ‘circular techno-aesthetics’ through materiality may bring about the needed global fundamental change of value and move towards a circular economy.