Greyarea: An Investigation of Converting Woven to Knit

An investigation of converting woven to knit

Jonas Gustavsson May 2020

Fashion Design Bachelor Degree Project 51EM01 VT20-3

nr. 2020.3.04.

Greyarea

With inspiration from Elsa Schiaparelli’s Bowknot sweater, this work investigates the possibilities to create knitted versions of woven arche- types with the aim to reconstruct sartorial attires through abstraction in knit. This is conducted through the exploration of the construction of the suit jacket, with a focus on the layering of fusing to build shape. The work is abstracted based on the gestalt psychology theory of figure-ground with the purpose to play with the viewer’s perception of what is seen. The concept of figure-ground is also further explored within colour. Based on Carlos Cruz Diez theories of colour and the work titled Couleur Additive a study to create the perception of the colour grey is made. The final result is menswear collection visualised in a virtual form made with the software CLO3D.

Abstract

Key Words

Knitwear, Abstraction, Sartorial Attires, Machine knit technology, CLO3D

5

Look 1

Look 2

9

Look 3

Look 4

13

Look 5

Look 6

17

Look 7

Look 8

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Abstract Lookbook

Introduction to the field Background

State of the Art Motive

Aim

Method and Development

Design method & Design of experiments Experiments of design and Design rationale Results & Discussion (TBD)

Result Tech pack Discussion List of Reference 1

1.1 1.2 1.3 1.4 2 2.1 2.2 3 3.1 3.2 3.3 4

p. 3 p. 4 p. 22 p. 22 p. 28 p. 34 p. 35 p.36 p.36 p.38 p. 74 p. 74 p. 76 p. 84 p. 86

Table o f content

1.1 Background

Knitted garments have long been a part of everyday life and are together with weaving one of the most common techniques within clothing used today. In the Encyclopedia of Clothing and Fashion it is indicated that one out of five garments worn worldwide is knitted (Shen, 2005), a statement that is strengthened by looking down at the socks on your feet or the underwear you are wearing. Most knit- ted garments are taken for granted and are usually seen as the layer in between the clothes and the body. Although its permeability, the status of knitting has not always been low.

Elsa Schiaparelli became a well-known designer after the launch of a collection of hand-knitted sweaters in 1927. The sweaters were made with jacquard motives of geometric shapes in block-colour combination, which was on-trend during the time. But it was later the same year when Schiaparelli released a line of sweaters with trompe l’oeil jacquard motif of a bowknot blouse in black and white that started her career (Fig 1). With the high quality of the produc- tion and material, the bowknot sweater reached the same height of luxury as the original and was able to function as a comfortable supplement (Blum. 2003).

The potentials of knitting are of great value for the future develop- ment of fashion production. This work will investigate the potentials of producing woven archetypes within a knitting technique, inspired by Elsa Schiaparelli’s bowknot sweater while also looking into the anatomy of woven garments.

History of knitting machines

Knitting has long been an accessible craft practised around the world thanks to its mobility of minimum equipment needed and the simplicity of the technique. In Europe, the production of knitted gar- ments had a great role in the import and export economy during the sixteenth century (Shen. 2005).

During the second half of the 16th century, the technique developed into a more advanced craft thanks to the demand of hoes which was a must-have in a gentleman’s wardrobe at the time. By the high demand for knitted goods, the Englishman William Lee invented the first knitting machine in 1589 to increase productivity to meet the demand. This was the first machine developed for the sake of productivity and is seen as the start of the industrial revolution (Brackenbury. 1992).

1. Introduction to the field

Since then, the development of machine-knit technology has deve- loped further to produce knitted structures such as rib, jacquard and more complex patterns. But the most significant development was the computerisation of the knitting machine during the 20th cen- tury. With computer-aided manufacturing (CAM) new possibilities for further development opened up (Brackenbury. 1992).

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Fig 2. (Karin Landahl, 2013)

Possibilities of knitting in Production

In textile production knitting is one of the techniques that have the best foundation to develop into automatic production. Joel Peter- son conducted a study of on-demand knit in 2012 with the aim to investigate the potentials of the Shima Seiki Wholegarment® sys- tem within a store concept (Peterson. 2012). The idea was to let the customer be involved in the design and to produce the piece in the store. The piece would then be ready to be collected later the same day. How this is possible is through complete garment technolo- gy, where the piece will be ready-made in the knitting machine (B) which allows the manufacturing process to skip traditional steps such as cutting and sewing (A) (Fig X).

The conclusion of this study was that more research needed to be done to reach the aimed goal.

Another project within machine knit technology is the A-POC (A-pie- ce of cloth) by Issey Miyake. The project emerged through the ex- hibition Making Things held at the Fondation Cortier pour l’art cont- emporain in Paris 1998. The philosophy of the project was “to clothe the human body in a single piece of cloth” (Lin, 2001).

In collaboration with textile technologist and designer Dai Fujiwara, Issey Miyake developed a knitting machine which produced a piece of cloth with garments embedded in the knitting. Within the cloth one could find a sweater, skirt socks and even a bag etc. The wea- rer then cut out the garments from the fabric following the marked lines.

The material was developed in a way so the edges would not fringe.

Within this process, the wearer had the choice to decide the length of the sleeves and body which allowed them to be part of the design process (Fukai et al. 2010).

Fig 3. A-POC (Merrell London, n.d.)

This technique made it possible to create the properties of the final garment before the fabric was produced due to the precise adapta- bility of the knitted structure. It was revolutionary at the time and has inspired further development. The Flyknit runner developed by Nike in 2012 (NIKE, 2012), where a knitted top was created, is an example where a similar technique has been applied and has since the release become a commonly used technique. Today knitted sne- akers are produced by several companies.

By drawing inspiration from the examples above, this work will investigate the possibilities to push machine knit technology into other categories of garments.

Abstraction through gestalt psychology Figure-Ground

Elsa Schiaparelli creates the illusion of a bowknot shirt through jac- quard knitting. In a similar way, this work will explore the concept of figure and ground through the details of the suit jacket.

Figure and ground is a theory based on gestalt psychology and dis- cusses the relation between object and background. This is shown in the Vase-Face figure by Edgar John Rubin (fig 4) where the outer line of the shape creates both a profile of a face and the side of a vase.

What the viewer sees depends on what shape the brain is focusing on (Wagemans et al. 2012). What figure that is revealed first is ba- sed on recognition and memory. When the first object is recognized, the other figure is revealed (ibid. 2012)

By creating the imitation of a woven garment within knitting, the viewer has two characteristics to reference to. The first one is the visual characteristics referenced to the woven archetype. The other is the material behaviour of a knitted garment. What the viewer will see first depends on what they are closest to in memory.

Fig 4. Rubin’s Vase Ambiguous Figure (1915)

The concept of figure and ground will also be explored within colour.

With inspiration from the French-Venezuelan artist Carlos Cruz-Diez theory of colour, with a closer look at the work titled Couleur Addi- tive, which investigates the interaction of two colours create the perception of a third (Diez, n.d.). By combining threads of various colours within the knit it is possible to create the illusion of a third.

This work will aim to create a perception of the colour grey.

Fig 5. Couleur Additive. Série Mayo Dos 2 ACE (Atelier Cruz-Diez Paris, 2000)

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1.2 State of the Art

Vitelli - material development

The Italian knitwear studio Vitelli has developed a new material from waste yarns which they felt into a non-knitted material. The mate- rial is called Dumbo and is used to make tailored garments such as pants, coats and suits (fig 5). The expression of the material is clo- sely related to knitting with the visible yarn structure. This works as a sustainable supplement to other nonwoven materials with a com- parable function of use. In a similar way, the material development of this project aims to work as an additive for the original.

Fig 6. (Vitelli, 2020) Doomboh

Cecile Tulkens - Hierarchy of knit

Cecile Tulkens explored the hierarchy of garments within her Master collection from Central Saint Martins. The collection featured knit- ted tailoring with an aim to raise the value of the knitted material.

The pieces were made with fully fashion technique and were treated in a similar way to traditional tailored suits with strengthening and fusing (fig 6). Tulkens gives an example of how knitting can be used for other garments which are highly associated with woven fabrics.

Fig 7. (Tulkens, 2020)

Peter Do - Suit anatomy

Since their start in 2018, Peter Do has been exploring the suit and its details. In the debut collection elements of the suit-anatomy were shown through a transparent material. The construction of the suit such as lining, pocket bags and shoulder pads is revealed and func- tion as an aesthetic expression. From the layering, lines are created that is normally not seen in a suit.

Furthermore, other details of the suit that has been explored are the lapel. In the autumn-winter collection of 2020, the outlines of an absent lapel create the framing of the chest. The significant lines of the detail references to the suit in an abstract way and function in the same way as its origin.

Fig 8. Peter Do spring summer 2019 (2018) Fig 9. Peter Do autum winter 2020 (Vogue, 2020)

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Marine Serre - Virtual visualisation

For the spring-summer 2020 campaign of the collection Marée Noire, Marine Serre together with the experimental creative studio Actual Objects showcased a virtual reality of a post-apocalyptic world. The video features both animated avatars and real models wearing the collection in environments both partly and fully created with 3d Software which plays with the viewers understanding of what is virtual and what is physical (Bertolino, 2020).

The virtual elements are also used as a storyteller to highlight dif- ferent aspects of the collection. Avatars are featured as post-hu- man figures, prints from the clothes float up in the sky, and fantasy flowers are flourishing from the damaging of pipes as a symbolic gesture of the regrowth after the collapse of our existing world.

These elements also communicate the storyline of the collection in a clever way.

Fig 10. MARÉE NOIRE (Marine Serre, 2020)

Through this work, the question of hierarchy within garments will be explored based on the examples of Vitelli and Cecile Tulkens with a focus on the suit jacket, with a further investigation of its details seen in the examples of Peter Do. The collection will be visualised within a virtual reality with features from the real world to blur out the lines between the virtual and physical.

Fig 11. MARÉE NOIRE (Marine Serre, 2020)Fig 12. MARÉE NOIRE (Marine Serre, 2020)

1.3 Motive

It is of importance to disturb the already existing patterns to be able to allow change.

In the book Ways of Seeing John Berger (1972, p.8) explains that “[t]

he way we see things is affected by what we know and what we believe” and that our learned associations of the object will define what the object is. Berger continues to explain that the act of se- eing is also controlled by what we want to see. By suggesting other associations to an object, the viewer will start to look for other signs of recognition. This allows the observer to think outside of what is already known.

This is shown within the example of the Vase-Face figure by Edgar John Rubin. With the knowledge that the image both shows on the profile of the face, and the silhouette of a vase, allows us to deci- de what we want to see. The act of seeing is changeable due to the given information within the title.

By giving examples of what could be seen, or how it could be done, it allows us to rethink already learned preconceptions. This act can be drawn to the phenomenon of hacking. In the thesis, Fashion-able Hacktivism and Engaged Fashion Design Otto von Busch (2008, p.37) state that hacking is a “way of seeing and reassembling the world, of bending energies into new forms”. As in this, hacking acts as a way of suggesting an alternative example of an already existing practice.

Furthermore, to be able to ‘hack’ something, it is of importan- ce to know about the process of how it is made. Busch describes it through the metaphor of DNA, as the guidelines of becoming.

Through the DNA structure, the cell is directed towards what it will be. To be able to redirect the cell, the structure of DNA needs to be changed (Busch, 2008). To redirect fashion (cell) the design process (DNA) needs to be hacked.

By hacking the design process and giving suggestions of alternati- ve ways of producing sartorial attires, the design process itself has been re-designed. Through this, the steps of the traditional making process have been designed away. Holly McQuillan discusses the importance of knowing that within the process of designing for a sustainable future, one also “[designs away] some of the things we already have and do” (McQuillan. 2019). This shows that through rethinking the design process and giving examples of alternative ways of making, it opens up for change toward more sustainable methods and to evaluate the already existing patterns used today.

This is all awaken through the act of disturbance of the tradition.

1.4 Aim

To reconstruct sartorial attires through abstraction in knit

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2.1 Design method & Design of experiments

The method of this work will be to extract the characteristics of woven materials and archetypes and convert them into knit. This is made to question the traditional “logic of making and establishing dress, technique, construction, methods, systems, process, manners etc. for the establishment of new formal expressions in dress and fashion design” (Thornquist and Blomgren, 2012).

Material investigation

Firstly an analysis of woven materials will be made by looking at woven fabrics and bindings. The focus point is to chart the direction of the threads in the weave which later will be translated into floa- tation in knit to imitate the look of the material. The floatation will mostly function as an aesthetic feature but will also give the materi- al more stability.

Weaves that will be explored are twill, satin and plain weave. The translation will convert the warp into stitches and weft into floats.

A twill is signified by its diagonal lines created by the placements of the threads with one weft over warp, two under warp and the offset that follows. This will translate to one loop, two floats with offset on the following row.

Construction anatomy

Secondly, an investigation will be made by viewing the anatomy of the construction of sartorial attire with a focus on the suit jacket.

The part that is of interest is the layers of the jacket that build up its forms such as the shoulder pads, chest canvas, fusing and lining.

These parts will be converted into a design development where the construction lines, function and look will be used to “[m]ake a gar- ment or more abstract work to examine and reflect on the tradition”

(Thornquist, 2010).

2. Method and Development

Colour theory

The investigation of colour will be based on the work of the

French-Venezuelan artist Carlos Cruz-Diez theory of colour, with a closer look at the work titled Couleur Additive. The work explores the event where the interaction of two colours creates the percep- tion of a third. The phenomenon that appears is called Chromatic event modules (Diez, n.d.). By combining threads of two colours within the knit, the fabric will be perceived as a third. The aimed co- lour to be anticipated through this method is grey.

3D Visualisation

This work will be developed and visualised through the software CLO 3D to exhibit alternative approaches of the fashion design process.

By using a computerised construction method, it is possible to “[i]

nstantly review changes as any modifications to 2D patterns, co- lours, textures and finishing details are immediately simulated” (CLO

| 3D Fashion Design Software, n.d.). which allows for direct visualisa- tion within the pattern making process and reduction of toile ma- king.

2.2 Experiments of design and Design rationale

Material Investigation

The material investigation started off by analysing woven bindings such as twill, satin and plain weave to convert the visual structure into knitting. Flotation was decided to be used to mimic the place- ments of the threads in the weave.

The development of the binding was made on a domestic knitting machine. Test with different flotation techniques was made and the use of the single and double bed. From this session, three samples based on twill and satin binding were selected for further developed on industrial knitting machine Stoll CMS 330.6. The selection was made based on similarities to the original weave and stability of the knit.

Samples made with Stoll CMS 330.6.

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Within the development with industrial knitting, a finding was made.

By adding different amount of threads into the knit, the quality of the fabric changed. More threads created a dense structure, while fewer threads made it drape. The finding led to further investigation though intarsia with different parts with different amount of th- reads.

Here a test with intarsia in shape is shown.

Backround 3 threads, first cirkle 5 threads, overlapping cirkle 7 th- reads

Colour Investigation

The colour investigation started with the idea to create colours with the use of different coloured threads. The idea was inspired by the Spanish artist Carlos Cruz Diez artistry. By mixing blue threads with red threads, the colour purple could be created.

Further research was made up on colour theory and simple sketches were conducted using adobe illustrator.

The colour grey was decided to be further investigated as an aimed colour to create through mixing coloured threads. Grey was decided both in its relation to the suit and as a colour that could be achieved by mixing several colour combination such as black and white, red and green or yellow and purple. A focused exploration of the colour combinations was made through visualising the combination of co- lours by creating a loop structure in adobe illustrator together with physical tests with yarns. Through this investigation, the combina- tion of purple, yellow and black in different variations was the most successful.

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Test with threads shown both in distance and close up. The chosen colour combination of purple, yellow and black was tested in knit with different placements of plate. Also a test with only purple and yellow was made but with an unsuccessful result.

Lineup Development

The garment development started with looking at the archetypes associated with the selected weave samples from the material in- vestigation. The suit jacket was chosen to have a central role within the design. This was made based on the finding within the material development, the possibility to create areas of structure with dif- ferent amounts of threads. The idea was to recreate the different layers of fusing used to build form within the suit jacket through the found technique.

Furthermore, the lines created by the layers of the suit jacket was extracted to be abstracted within other garments.

Garments connected to the suit such as the shirt, suit pants and the coat was looked upon and explored and developed in a similar way.

Garments to explore

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Details to explore

Exploration of abstraction of the construction lines of the suit jack- et.

Exploration of lines in lineup.

The visual resault was considered succesfull and the decision of futher development was made.

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Virtual visualisation

Due to the current situation of the epidemic, the decision was made to construct and visualise the work through the software CLO3D.

The virtual element was also considered as an relevent area to in- vestigate within this work. The development started with figuring out how to convert the physical material samples into a virtual me- dia, also how to construct the visual effect of the technique.

Texture of physical sample

Development of texture map

Development of material quality in

Draping of physical sample The most successful result was by layering pattern pices on top of

each other to create the rise in the material.

Look 1 was previously visualised in physical form and therefore the development of this look was based on making a virtual version.

The first try out in black was not successful in terms of the visibility of the details. Try outs where made in variation of grey where the de- tails where more visible.

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Look 2

In look 2 the shirt was explored. The aim was to create the details such as collar and ma- chete. The look was firstly styled with a pair of leggings inspired by the hoes that pushed the development of the knitting machine in the 16th century. Even though it would be a fun element in the collection, the decision was made to further develop the leggings based on the construction lines of the suitpants and show the construction by block colour place- ment. The final version were styled with a pair of tight suitpants in oversized twillknit.

Look 3 was aimed to start exposing the con- struction lines on the outside of the garments together with the lapel and pocket details.

The fabric is the twillknit with the perception of grey created by layering purple and yellow, here with purple on the outside.

To show the construction lines a try out of dif- ferent shades of grey where made. This exam- ple where not considered good in relation to how it would be done in reality.

The coat is styled with a top an legging with moireknit, two layers of striped jersey fabric that create the illusion of a moire. The top and leggings have the lines of details from the suit and suit pants.

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Look 4

In this look the construction lines of the suit jacket and suit pants are revealed on the out- side. The material is twillknit with the per- ception of the colour grey created by layering yellow on top of purple and black.

The development was heavily based on the colour exploration to create the colour grey.

The look is styled with a yellow top to enhance the perception of grey in the suit.

Look 5 is showing the different expressions in the materil that is created by different varia- tion of layering colour.

The silhouette development of this look was based on the balance of the line up. Therefore, a vest was decided to be explored to lighten up the collection.

A skirt was also developed for this look based on the lining of the suitpants to give variety in the line up. This was decided to be deselected due to that the pants where a better fit for this styling.

The material was later on oversized as in look 2.

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Look 6

Look 6 shows the construction lines of the suit jacket and pants, but the silhouette is abstracted. The look also show the moire effect created by the layering of stripes, here in purple and yellow.

The aim was to abstract the suit by using the construction lines. Try outs was made where the layering where more evident. Even though the try out was successful in terms of expression, the decision was made to stay with the first example to develop further.

Further development was made to enhance the lines within the garments by colour blocking. The final results was made by changing the direction of the lines in the pattern pieces to show the lines in a subtle way .

Look 7 was similar to look 5 developed based on the over all balance of the line up.

The idea was to create an abstract shirt based on the neckline of the shirt collar which create a v-necked polo.

The first try outs where made in the same ma- terial of the original shirt styled with pants in the same material. Furthermore the decision was made to incorporate the moire knit.

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Look 7

This look aimed to be the most abstracted ver- sion based on the suit jacket. The construction lines of the canvas and shoulder pads are vis- ible and enhanced. The silhouette is dragged down and creates a dress.

The aim of this look was also to focus on the construction of the back to create the curve seen in suit jackets.

Try outs of colour blocking was made with a successful result in terms of expression. It was deselected due to standing out to much in the over all expression of the line up.

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Line up Back

3.1 Result

Finally, looking at the result, the collection is in good relation to the aim when it comes to abstract sartorial dress in knit with a clear evolvement from the first look and onwards.

The collection is heavily based on material and textures. This is something that unfortunately is not communicated good enough through the virtual media. There are qualities in the material that is lost within the translation from the physical to the virtual, such as the rolling of the edges and the rise of the flotations in movement.

Through a physical collection, these elements could have been considered as a design feature and would have enhanced the overall expression of the collection.

Furthermore, the colour exploration with the development of phys- ical material samples is seen as a successful result, though it could have been explored further within other colour combinations to give the collection variation. With this said, the choice of restricting the use of colour combination also give the collection a clear focus and shows of the different varieties of expression that the combination can be presented in. It also provide the lineup harmony.

3. R esult and Discussion

Physical sample, rolling edge Virtual sample, straight edge

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Look 2

Techpack

CB Length Width CF Length Shoulder Sleeve Length Sleeve opening Armhole

Neckline Width Collar Hight CF Collar Length Collor Hight CB Slit Hight Cuff Hight

Waist Seat

Crotch Seam Thigh Width Knee Width Outer Leg Inner Leg Fly Length Fly Width

Waistband Hight Pocket Hight Pocket Width A.

B.

C.

D.

E.

F.

G.

H.

i.

J.

K.

L.

M.

A.

B.

C.

D.

E.

F.

G.

H.

i.

J.

K.

L.

(cm) 86,5 56 78,5 14 58,5 24 50 18 8,5 48 4,5 13 8

86,5 97,5 67,5 55,5 37 108,5 85 27 7 5 1 14

A

A

B

B

K

K C

C M

L

L i

i

J

J

G G D

D E

E F

F H

H

Fabric: Lyocell Fabric: Wool Fabric: Wool

Look 3

Techpack

CB Length Width CF Length Sleeve Length Sleeve opening Armhole

Neckline Length Neckline Width Lapel Length Lapel Width Slits hight Pocket Width Pocket Hight A.

B.

C.

D.

E.

F.

G.

H.

i.

J.

K.

L.

M.

(cm) 152 59 106 64,5 28 53 48 14 36 8,5 69 14 4

A B

K

C M

L i G J

D

E

H

Fabric: Marino Wool

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Look 4

Techpack

CB Length Width CF Length Shoulder Shoulder pad Sleeve Length Sleeve Opening Armhole

Neckline Width Lapel Width Lower part CF Upper part CB

Waist Seat

Crotch Seam Thigh Width Knee Width Outer Leg Inner Leg Fly Length Fly Width

Waistband Hight Pocket Hight Pocket Width A.

B.

C.

D.

E.

F.

G.

H.

i.

J.

K.

L.

A.

B.

C.

D.

E.

F.

G.

H.

i.

J.

K.

L.

(cm) 73,5 36 61,5 16 12 62 28 51,5 14 11,5 17 13,5

86,5 97,5 67,5 55,5 37 108,5 85 27 7 5 1 14

A B

K C

L i

J

G

D E

H

F

Fabric: Marino Wool

A

B K

C L

i J

G D

E F

H

Look 6

Techpack

CB Length Width CF Length Shoulder Shoulder pad Sleeve Length Sleeve Opening Armhole

Neckline Width Hip Width Lower part CF Upper part CB

Waist Seat

Crotch Seam Thigh Width Knee Width Outer Leg Inner Leg

Waistband Hight Fly Length Fly Width

Front Pocket Hight Front Pocket Width Back Pocket Hight Back Pocket Width A.

B.

C.

D.

E.

F.

G.

H.

i.

J.

K.

L.

A.

B.

C.

D.

E.

F.

G.

H.

i.

J.

K.

L.

M.

N.

(cm) 53,5 40 48 10 6 57 17 40 13 40,5 6 12

83 93 67 52,5 37 99 75 5 24 6,5 23 14 23 15

A B

K C

L i

J G

D E

H

F

Fabric: Viscose Fabric: Viscose (Inner Layer) Fabric: Viscose (Outer Layer)

A

B K

L C M

i N J

G D

E F

H

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3.3 Discussion

This work aimed to reconstruct sartorial attires through abstraction in knit by analysing material, garments and its details within the construction. Also to investigate the area of figure-ground through material exploration and colour in relation to abstraction.

Overall, the expression of the collection is seen as successful.

Though in terms of abstraction, it could have been abstracted fur- ther towards a more unrecognisable appearance. Look 7 is consid- ered as a good example of the aimed expression of abstraction. It is an evolved version of the suit which is communicated through the line-up. Seen by itself, the references are absent and it is difficult to see the source. This expression could have been developed more within other looks.

When it comes to the technique used within the material develop- ment, it is suggested as being an alternative way of constructing layering to create structure within a garment. It is communicated through the collection by being used within the parts of the garment that traditionally are strengthened with fusing or other techniques of structuring. The technique is considered as a suggestion of how woven garments could be produced within knitting and to perceive qualities of the original. The expression will be changed slightly, due to the more relaxed character of the knit which gives the garments a more casual appearance. This could be challenged more through the chose of material. By using materials connected to luxuries, such as silk or wool. The material used within this collection is selected with a sustainable approach, with local production as the main direction.

Materials used are wool, lyocell and viscose which all can be produc- es in Sweden. This approach is incorporated due to the possibility of using the method of production within local manufacturing thanks to the minimisation of production steps by computerisation of knit- ting.

Furthermore, the use of the computer as the main tool within the design and construction process shows how the way of making can be changed within fashion. By changing some steps of making into a virtual media, the process both becomes mobile, in terms of that the location used for working is changeable and lower the use of mate- rial.

Even though the tool is seen as a good alternative, it is of impor- tance that the user is aware of the unrealistic results that could be achieved through the virtual media. Mainly in terms of body appear- ance. To not repeat historical failures such as the unrealistic ideal created by the 9 head drawings and Photoshop editing, it should be seen as a tool for design and construction and not as a replacement of the reality. This means that the relation between virtual and reali- ty needs to be in dialogue to be able to work properly.

With this said, the use of 3D software within the design process to create new expressions within fashion is seen as a method of great value.

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