Research Journal of Textile and Apparel R e s e a r c hDesigning an educational tool to revitalise woven textile mending J o Journal: Research Journal of Textile and Apparel uManuscript ID RJTA-06-2017-0027.R1 r Manuscript Type: Original Manuscripts Kenyword: Woven Fabric, Wool, Stitch Structure, Design a l o f T e x t i l e a n d A p p a r e l Page 1 of 42 Research Journal of Textile and Apparel R e s eIntroduction aFabric mending is a valuable yet frequently overlooked skill that involves fixing r various faults that may occur in fabrics. Its applications can be found in a purely docmestic context as well as in a textile manufacturing setting. However, due to the current economic and cultural backdrop, this form of needlecraft is on the h brink of dis appearing, with older generations not being able to pass on their knowledge of the skill. While the demand for the skill is still present in certain J settings, such as textile manufacturing mills and smaller scale textile o micromanufacturing businesses, the availability of literature and learning resources is limited ruelating to this particular craft. r The project was carried out in collaboration with a vertical woollen weaving mill, located in in West Yorkshiren. The company is proud to be one of the last remaining vertical mills in the UKa, meaning that it carries out virtually every l woollen spinning and weaving textile manufacturing process on the same premises. o Research aims and objectives f The aim was to investigate and understand the mending process within the T industrial context, focussing on woven woollen fabrics, and to produce a e suitable tool that could be used to document and revitalise the mending processes and to teach the skill. x t To achieve this aim, the following objectives were determined: i l Research Objectives e • To perform secondary research regarding mending practice within a woollen weaving textile manufacturing industry and why it is needed as well as to pinpoint the reasons for the reduced degree of this practice. n • To interview relevant staff from the mending and burling department at d the mill to determine the purpose and the level of mending within the industrial context as well as to learn more about the informants’ A background and experience. • To use the findings from primary and secondary research to identify the p most efficient methods and principles to teach skills, that could be p incorporated in the development of an educational video tool. a r e l Research Journal of Textile and Apparel Page 2 of 42 R e s e• To film a video to capture mending processes within the mill to document, revitalize and pass on the skills. a r• To create diagrams that could be used to visually simplify the pattern and accelerate the acquisition of pattern recognition skills. c • To test the instructional video tool for its effectiveness and accuracy and h evaluate the findings. Definition ofJ mending Textile mending ois a needle based skill that involves fixing various faults that may occur in fabrics. Its applications can be found in purely domestic context as u well as in textile manufacturing setting. Therefore, textile mending may refer to r minor repairs that can be performed at home on various textile products as well n as to highly skilled, undetectable reconstruction of fabric through invisible mending carried out by professioanal craftspeople in workshops. This l dissertation will primarily focus on mending that occurs in a textile manufacturing setting, specifically woollen weaving mills, where mending is o used to repair imperfections that appear during different production processes. f Freshly woven fabrics often have imperfections that occur during various cloth production processes which cause severe profit losses for textile T manufacturers. As a result, to comply with the company’s set standards, woven e textiles undergo a careful inspection process throughout which all weaving defects are marked out and then repaired by hand. This ixnspection process t involves three main operations: perching, burling and mending, with all of them i performed prior to textile finishing procedures (Karmakar, 1999). l e Perching Perching refers to the visual inspection of fabric done by the human eye. aThe cloth is pulled over the frame, which is made from frosted glass and is n simultaneously lit from behind and above to highlight the defects in the fabric. The objective is to search for faults that could have been caused by carding, d spinning, warping or weaving processes. As the fabric is pulled metre by metre across the perch, flaws such as stains, knots, small holes, missing warp or weft A yarns, as well as other imperfections, are marked. p p a r e l Page 3 of 42 Research Journal of Textile and Apparel R e s eThis is an important stage as not only does it assess the quality of the already woven cloth but also helps to detect the origins of the faults within the a production line, and therefore prevent them. In order to achieve this, specialists r from other production departments should be brought together as soon as c possible to evaluate the faults in the piece and discuss how they could be avoidehd. The fast work pace in perching is crucial, otherwise looms may carry on weaving faulty pieces, adding extra manufacturing costs, labour and time J needed to correct them (Lyness and Murphy, 1955). o The pieces that contain only minor defects can be marked by passing a piece of thread or string throuugh a selvage parallel to the fault. While the manufacturer receives an allowance forr a certain number of strings, this still reduces profits for the seller. However, in the cases of large numbers of flaws present within n the piece, the fabric may have to be discarded or sold at an extremely low price a (King and Lester, 1932). l Burling o Following perching, the marked cloth is passfed on to burlers and menders to repair the fabric defects. Burling can be described as the process of removing any remaining foreign matter in the fabric such asT burrs (vegetable matter including leaves, seeds, and twigs), yarn knots or thinning out slubs (lumpy or e thick places in yarn). This type of correction is mainly applicable to woollen, x worsted, spun rayon and cotton fabrics and is done by hand using tweezers t called ‘burling irons’. i l Figure 1 here. e Mending a Mending involves the actual repair of imperfections such as weaving in a n missing warp or weft yarn with a hand needle and repairing tears as well as d small holes. For this task, a needle with a ball-point is used as it is still able to penetrate the fabric structure, but the blunt tip prevents the needle from tearing A through the fibres in the weave (Stewart, 2009). p Figure 2 here. p a r e l Research Journal of Textile and Apparel Page 4 of 42 R e s eAccording to the “Systematic Training for Burlers and Menders Manual”, the physical requirements for this occupation were to have good eyesight (including a colour vision), possess an above average pattern perception and good finger r dexterity (The Wool, Jute and Flax Industry Training Board, 1975). Overall, it is c not perceived as an easy job as it is very hard on the eyesight and has a monothonous nature. Additionally, one account mentions that burlers and menders had a tendency to suffer from bad skin complaints due to continuous J action of the forearms passing over the cloth. o The Effect of Technological developments u Technological developments within the textile industry have been very r substantial, particularly since 1967, having a huge impact on machine and labour productivity, quality, cnosts, and services. These technological advances have allowed the modern weavinag processes to become highly automated with l most of the adjustment mechanisms being controlled electronically. This has enabled many faults to be repaired prior to or during the weaving process o without needing to involve the operatives. Therefore, the overall progress in f woollen manufacturing technology is directly ac countable for the reduced labour and production costs as well as the improved quality of the textile goods T (Horrocks and Anand, 2000). e Why should mending be revitalised and where could it be used? x Traditional crafts and practices rooted in local knowledge andt culture are part of i cultural heritage and should be preserved and revitalized (Tung, 2l012). However, due to transformative technological change in textile industries that e was powered by demographic growth and economic expansion, compu ter powered looms have become the ultimate solution in textile mills. This, a however, has removed the link between the craftsperson and the product, n devaluing traditional textile skills and training methods within an industrial context. Conversely, handcraft production is frequently associated with low d standard of living due to lack of economic opportunities and minimal competitive advantages. This poses a problem in finding a way to rescue a traditional A practice that could adjust to the demographic and economic changes of the p present day (Rusu, 2011). p a r e l Page 5 of 42 Research Journal of Textile and Apparel R e s eModern strategic learning approaches in passing on skills aEven though there is an increasing interest in learning and teaching crafts as r well as skilled practices, obtaining adequate training resources can be procblematic. A recent survey carried out by Heritage Crafts Association highlights that access to training for individuals who aspire to make a living h through cra fts or wish to improve their skills is limited to short courses and workshops, having little to offer in terms of formal or structured learning. Wood J (2009) remarked that it is important to comprehend what actually must be o learned in order to successfully present a craft teaching method. However, it has been noted that aucademic resources that provide structures for learning different craft practices harve gaps, while studies that focus on interactional methods of teaching crafts are limited (Koskinen et al., 2015). What’s more, n projects aiming to record the working practices of craftspeople frequently lack a systematic methods or insights that are effective while learning (Wood et el., l 2009). Furthermore, the numbers of ex pert craftsmen are diminishing rapidly, with many of them either retiring or moving on to other careers. This reduces o both the availability of possible live learning sfources and diminishes the quality of the learning (Holmberg, 2013). T Difficulty in articulating tacit knowledge e When asked to explain complex craft techniques, skilled practitioners have a x tendency to give brief responses and minimal, oversimpified descriptions of t their actions. As these skills or craft practices often involve varioius elements of l internalised tacit knowledge that have been gathered over a long period of time, the craft professionals can be expected to struggle to put it into woreds. Additionally, routinely performed tasks seem to be challenging to express a verbally as it is not easy to communicate one’s actions when the movements follow habitual patterns of execution without thinking (Torell, 2014). Holmbergn (2013) noticed a similar occurrence at Handarbetets Vänner, the Swedish d handicraft and textile workshop. To train the new members the experienced craftsmen have to assume a teacher’s position, however, there is no guidance A on how the teaching should be implemented, with one of the craftsmen expressing it as, “Suddenly you are a teacher” (Holmberg, 2013). Nevertheless, p Torell (2014) suggests that the more the crafts expert concentrates his or her p attention on bodily sensations while in the act of making, these sensory a r e l Research Journal of Textile and Apparel Page 6 of 42 R e s eobservations could be reflected on and then articulated in a more comprehensive way to a learner. a r In her research, Wood (2009) investigated the capturing and teaching of the skiclled knowledge of master craftsman through the expert learner, an individual who had experience in similar craft fields and had the capacity to learn new h skills with m inimal instruction. Accordingly, it was noticed that the presence of expert learners during the skill extraction process could assist in identifying J gaps in understanding between the learner and the skilled craftsman. Whilst the o craftsman struggled to vocalise what he was doing during the initial demonstrations, onceu the expert learner had gained some basic experience she was able to question the erxpert more specifically and direct the expert’s guidance to the particular actions she was struggling with (Wood et al., 2009). n One study conducted on childrena learning origami showed that the instructions l presented in the moving image format gave better performance results than those that used still images. Another study evaluated the same media with o young adults who were learning to tie knots with scoubidou threads. The results f reiterated that the better executions were achie ved through the instructions given using video rather than still images. Additionally, it was noted that based T on their subjective opinion, the participants considered video instructions to be e easier to understand and follow than those that were based on the still images (Ganier, Vries, 2016). Furthermore, when assessing the bxest instruction format t for learning first aid, three methods were included: video, still images and a i combination of both. The best performance in this study was achileved through following instructions using the hybrid format, while the video only e demonstration showed intermediate performance levels, with still image s only format showing the poorest results (Ganier and Vries, 2016). In her research, a Wood reiterated that video as a learning resource on its own was not a good n enough method for acquiring tacit knowledge (Wood, 2003) Regarding the instructions using still images, a source evaluating crochet learning remarked d that the images could only display hands, yarn, and the position of the needle at fixed points, without representing the previous actions or how the movement A progressed (Lindwall and Ekström, 2012). It was therefore decided that this p research would use a combination of video, still images and guidance text to present the instructions on how to mend in the most comprehensible manner. p a r e l Page 7 of 42 Research Journal of Textile and Apparel R e s eMethodology aTo address the aims of this research, a bricolage methodology and qualitative r research methods have been employed. Qualitative research methods are pacrticularly suitable for the investigation of tacit and intuitive understandings of cultures and processes, allowing the implementation of research in context and h the observ ation of actions and interactions of individuals (Tracy, 2013). This application of multiple methodologies may be regarded as a bricolage, which J acts as a pieced together, cohesive set of practices that provide solutions to a o problem in a specific situation (Yee and Bremner, 2011). In this methodology, the selection of tools uis not set in advance with ‘bricoleur’ actively constructing new methods by using creratively what is already available. Hammersley (2004) noted that the ‘bricoleur’ essentially is self-taught which leads to the ingenuity n and novelty of what is produced. This methodology differs from mixed methods a or triangulation as the primary intention for the diverse use of methods is to l construct new techniques rather than t o compliment or validate the work (Roberts and Priest, 2010). o f The expert informant In order to determine the purpose and the level of mending within the industrial T context, relevant staff from the mending and burling department at the mill was e selected and interviewed. The main mending informant, was suggested by the x management of the mill and was chosen because of her extensive experience t and approachability. The initial meeting was set up to present thie project to the l management and marketing departments of the mill and to ensure that there was mutual understanding regarding the objectives, expectations aned limitations was achieved. a Semi-structured interview n Afterwards, a semi-structured interview was used to collect primary data and to d build a foundation for the video planning process. The purpose was to get to know the main informant better and to form an insight into her professional experience. It also aimed to uncover the degree of mending carried out at the A mill and the most common fault origins. The format of semi-structured interview p was chosen to allow the two-way communication and encourage the informant p to lead the discussion, while exploratory indirect questions were asked to guide a r e l Research Journal of Textile and Apparel Page 8 of 42 R e s ethe conversation in the right direction and stimulate its flow (Holmberg, 2013). The interview was conducted using pre-prepared questions and recorded with a a Panasonic Lumix G video camera. r Tacble 1 here. Filminhg This research project employed digital video recording and editing methods as J digital recording and storage offer superior quality and longevity compared to o text materials. Another factor was the accessibility of the format; video recording has become an acceussible tool for the non-professional user, which was significant as the researchrer was new to the discipline (Shrum, et al. 2005). Employing digital video during the primary data collection allowed for the n simultaneous documentation of visual and audio sources, as well as allowing a repeated viewings and data manipulation during the postproduction stages l (Knoblauch and Schnettler, 2012). o This research employed an ethnographic approach to video recording, selecting f situations and actions relevant to the context of the research (Pauwels and Margolis, 2011). Through her research, Wood (2009) noted that employing an T ethnographic approach to video making was beneficial in craft learning due to e its ability to capture the instructions and teacher and learner interactions, as well as bring the hidden aspects of craft learning to the foxrefront. She discovered that the use of the video recorded material in craftt learning i situations is helpful to provide an overview of the complete task (Wlood, 2005). Instructional tool development e The instructional video was developed in order to record and present the craft a practice in a format that would endure and be accessible to anybody who n wished to learn. The content of the produced instructional video included the informant’s description of the job, necessary tools, introduction to woven pattern d structure, and the instructions of different mending techniques used in the mill environment. The framework of this instructional tool was carefully designed A using the methods that were found to be effective in transferring the tacit p knowledge. The findings from primary and secondary research sources revealed two concepts that were advantageous when teaching mending skills to p a r e l Page 9 of 42 Research Journal of Textile and Apparel R e s enovice learners: 1. Ability to recognize and follow the woven pattern helped to understand the a mending process. r 2. The participation of a trainee during the tacit knowledge elicitation process c helped the teacher to provide more detailed instructions. h Consequen tly, design technologies were employed to create visual representations of weave structures that could aid in training woven pattern J comprehension. Additionally, the process of teaching a trainee was recorded to o reveal additional instructions that were suggested by the informant and situations involving puotential problem points. r Video script development n Additional meeting with the informant was arranged to produce a script plan and a structure the filming. To achieve this, the following processes were involved: l 1. Identifying the faults o The Systematic Training for Burlers and Menfders manual (1970) was used as a reference guide as it contained the list of faults that used to occur during woven woollen cloth manufacture. The informant was asTked to discuss the faults on the list of one by one and identify which defects were still occurring within the e mill and therefore could be demonstrated. During this process it was reiterated x that due to technological improvements the majority of these faults would not t occur anymore. The list of faults from The Systematic Training fior Burlers and l Menders manual (1970) is shown below (Table 2) with the faults that still occur at present day highlighted in green. e Table 2 here. a 2. Collecting fabric samples n The informant was asked to collect samples that contained examples of d manufacturing faults occurring within the mill. The collected pieces were then grouped together depending on the weave pattern and the fault type. A 1. Characterising the faults p p a r e l