Browsing by discipline "Slöjdvetenskap"

Traditional Japanese dyeing methods are hundreds of years old. Nowadays those traditional techniques are still in use and they are highly appreciated in the Japanese society. One of the Japanese dyeing techniques is Katazome. It is a resist dyeing technique in which the pattern is created with the help of resist paste made of rice. There is very little information about these techniques in Finnish. With this study aim is to deepen the comprehension of Japanese resist dyeing techniques and to analyze the information clearly. There are many different variations of resist dyeing techniques and they all are called Katazome dyeing. What links these Katazome variations together is the use of katagami paper stencil and nori resist paste in the dyeing process. The focus of the study is on these five Japanese resist dyeing techniques: Edo Komon, Nagaita Chūgata, Katazome Chūsen, Katagami Nassen and Bingata. In this study every dyeing technique is researched for their history, use of the textiles and the features that separates these techniques from each other. The aim of this study is to compare these dyeing techniques with the information found and look for those uniting factors that connects the techniques and for those individualizing factors that makes them unique. The research method in this study is a descriptive literature review with a combination of narrative and integrative approach. In the study the material is collected from literature sources (5), articles (6) and internet-pages (8), that are used to examine how the different techniques work and which concepts the dyeing techniques involves. With the help of the visualization the aim was to build a clear overall image in which different Katazome dyeing techniques are shown in the relations to each other from different aspects. Each and every one of the dyeing techniques had their special features which separates them from the others. The main differences were associated with the methods used in dyeing and with the colors used in the techniques. Also placing all the techniques on a timeline and on a map based on their origin, showed that the backgrounds of the techniques vary from each other quite a lot. With the information from this study it is easier to understand the diversity of the Katazome technique and its uniqueness at the same time.

Concerns of natural resources lead us to think and to act in a more ecological way if we want to take part in sustainable development and consuming. Due to influence of the sustainable development, the concepts of sustainable craft and recycled craft are being associated with craft. There is either no or very little research available about sustainable craft or recycled craft. My interest is in non-commercial recycled craft that utilizes recycled materials. This thesis is focusing on finding out what is understood to be recycled craft (in the boards of Pinterest – an internet webpage that describes well our time) among the users of Pinterest. The aim of this study is to find out what kind of products are being produced as recycled craft, and which materials and techniques are used in the process of recycled craft. This study was executed as qualitative study, where the research data consisted of pictures from the Pinterest website boards. Boards were selected from the Finnish Pinterest boards called: ”Kierrätyskäsityö”, ”Kierrätyskäsityöt” and ”Kierrätyskäsitöitä”. A discretionary sampling was used to select the boards to provide a diverse picture of the recycled craft. The pictures were observed using analysis of visual images until the data started to repeat itself. The data was analysed with content analysis. The conclusion of this study is that recycled craft is very rich and broad field of craft, in which recycled materials are being used without prejudice and in various ways. The Pinterest boards showed that the recycled craft is highly versatile and can be classified by the way they are prepared, the materials and the techniques that are used, and the product categories that are made. According to the research data on the way of preparing the craft, recycled craft can be classified as remaking/reusing old materials, repairing, hobby crafts and personalizing/tuning old materials. In recycled craft, hard and soft materials were used and variety of craft techniques were utilized. Also variety of products were prepared as recycled craft. Based on this study it was observed that there is a connection between sustainable craft and recycled craft even though not all recycled craft is sustainable craft.

The purpose of my research is to find out the present situation of the interior textiles and to examine what kind of source books and texts are available. I’m looking for an answer to why and what kind of interior textiles are used in homes, what kind of requirements and hopes for interior textiles and what the future of interior textiles appears. Examination of the interior textiles belonging to the home environment is scarce in research literature and so I formed a general view of the interior textiles, their tasks and future outlook in my own study. I used integrative literature review as research method in which case I was able to collect a uniform wholeness of the examined and published information from the subject matter earlier. I chose materials by searching extensively for related literature and other sources. I chose materials that contained information that was relevant to my research perspective, current or otherwise versatile. The research shows that interior textiles are used in the interior decoration according to an own taste and style. In addition to the inhabitant's own likings, care properties, price and current trends affect the choice of a textile and textile product. The furnishing fabrics offer an easy and attention wise significant way to change the home to correspond to one’s identity and wishes. The furnishing fabrics can appear in many forms regarding movables and they can even be used in every room of the home. The consumer habits have changed so that people try to reduce the number of objects which belong to the interior decoration and to acquire timeless, durable and high-quality textiles to be a part of an interior. Recycling and ecological choices enable responsible use of textiles. In the future interior textile experiences change in regard to material and the use. Interactive and technical textiles break ideas linked to the traditional textile and thus provide new possibilities to use and extend the tasks of interior textiles.

Tiivistelmä - Referat - Abstract The aim of this thesis is to find out what kind of dyeing method contact dyeing is and which things affect the results of contact dyeing. Contact dyeing has not been studied much, some data can be found on internet blogs where people share their knowledge. The aim of this thesis was to gather more information about contact dyeing and to try to answer some questions about contact dyeing. The problem in the thesis is whether the fibre content of the fabric or dyeing time affects the intensity, brightness or hue of the colour. This thesis was quasi-experimental. The material in this thesis was eighteen (18) different samples on which three different dyeing plants, three different fabrics and two different dyeing times were used. Dyeing plants were Cortinarius semisanguineus, onion and tansy. Fabrics were 100 % linen, viscose and silk. Every fabric was dyed with every plant and the plants were given two different dyeing times to find out the effect of time on contact dyeing. The material was analysed by comparing the fabrics to each other and analysing the staining of the fabric. The results were analysed using a standard: Tests for colour fastness. Grey scale for assessing change in colour (EN ISO 20105-A02:1995). The material was not compared directly to the grey scale because of the uneven colour of the material, but the standard (EN ISO 20105-A02:1995) also has a written evaluation which was used in this thesis. The thesis provided answers to the research-questions. Of the used fabrics, silk dyed the best, and this means that protein fibres are best suited for contact dyeing. Linen dyed middling. Plant fibres can be used for contact colouring, when the aim is not a very bright and intense colour. The staining of viscose, a semi-synthetic fibre, was the weakest. This means, that semi-synthetic fibres can’t be recommended for use in contact dyeing. There were two dyeing times, and according to the thesis, fabrics should be dyed for at least two weeks. Additionally, in contact dyeing, intense sources of colour should be used, so that the patterns would appear as clear as possible on the fabric.

This research deals with culture and craft through the perspective of cultural exchange. Cultural heritage guides the material and technique choices in craft. But cultural exchange may change craft maker’s way of action. The aim of this study was to clarify how the cultural exchange changes craft makers actions. The focus of the study is on the craft teacher student’s experiences about craft expression in cultural exchange. The two research questions were: 1. What is craftman’s experience of cultures as a part of craft process? 2. How does ones craft expression change after cultural exchange? The research method for this qualitative study was interview study, that was carried out as four thematic interviews. The informants of this study were selected among craft teacher students, that had just returned from exchange from Scandinavia and Europe. The interview recordings were transcribed, and the data was analysed by coding and thematic analysis. The study results are craft teacher student’s subjective experiences of cultural exchange. The data confirms the view that cultural heritage has a strong influence on craft, because tradition guides craft maker’s material and technique choices. The conclusion is that cultural exchange is very unique experience, which is influenced by individual action and cultural differences but also by the surrounding community. Cultural exchange has an influence on craft maker’s style or craft making identity or it may just give more confidence for craft making. But it may also be a difficult experience that makes one grave comfort from familiar materials and techniques. The research data confirms that both cultural heritage and cultural exchange have an influence on craft making.

Elämäntyylitelevisio on tullut televisioviihteen maailmaan jäädäkseen. Yleisradion suosittu Strömsö -sarja on esimerkki tällaisesta elämäntyylitelevisio-ohjelmasta. Strömsössä harrastetaan paljon kaikkea mikä liittyy kotoiluun, käsin tekemiseen sekä yhdessäoloon. Käsitöillä ja itse tekemisellä on ihmisille nykyään laajempi merkitys kuin ennen, sillä maailman meno on entistä epävarmempaa. Olen itse kiinnostunut kudonnasta ja halusin selvittää millä tavoin kudontaa käsitellään ohjelmassa. Tavallisesta maton kutomisesta poiketen valitsin jaksot missä käsitellään kudontaa toisenlaisesta näkökulmasta. Tutkielman tarkoituksena on lisäksi selvittää millä tavalla ohjelman katsojia inspiroidaan kokeilemaan kudontaa ja mitkä ovat ne verbaaliset ja nonverbaaliset keinot, jotka saavat katsojat innostumaan tekniikasta. Tutkielmani on laadultaan kvalitatiivinen ja tutkimusmenetelmänä käytin mediatutkimusta ja representaatioanalyysiä. Aineistona käytin neljää (N=4) eri Yleisradion Strömsö -ohjelman jaksoa, jotka koskivat kudontaa. Jaksot löysin Yle Areenasta. Aineiston analysointiin käytin apunani laadullisten tutkimusmenetelmien opintojakson tekstintutkimusta ja diskurssianalyysiä käsitelleen työpajan (Kärnä-Behm, 2020) analyysikysymyksiä, Sanna Ojajärven käyttämää Fisken koodiluokitteluun perustuvaa analyysikehystä (1999), sekä Virpi Blomin (1999) muokkaamia Barthesin koodeja sovellettuna. Analysoin aineistoa ensin kokonaisuutena yhteisiä tekijöitä jaksoista etsien ja pohtien. Tämän jälkeen avasin ja analysoin jokaisen jakson erikseen. Näin sain kuvan siitä, miten kudonta jaksoissa ilmenee. Inspiraationäkökulmaa taas pohdin viiden eri koodin (Barthes 1974) avulla. Seemien koodi ilmeni jaksoissa niin, että aloitus oli mietitty tarkoin yksityiskohdin, jotta katsoja haluaa jatkaa katselua. Hermeneuttinen koodi piti katsojaa pienessä jännityksessä tulevasta. Toiminnan koodi näkyi kokonaisina kudontatarinoina, joiden ympärille jaksot rakentuivat. Symbolien koodi veti jaksojen seemit yhteen ja osoitti sen, mitä kaikkea hyvää ja mielenkiintoista ohjelma edustaa ja mihin moni katsoja haluaa ja voi samaistua. Referenssikoodi eli tulkinnallinen kokonaissyvyys tapahtui jakson lopussa tai jakson jälkeen mielessä itse reflektoiden. Kudonnasta muodostui ohjelmassa perinteikkään nykyaikainen ja monipuolinen tekniikka ja ohjelman tapa inspiroida katsojaa oli hyvin monivivahteinen ja pitkälle suunniteltu.

In this study I discuss shoe collecting as a phenomenon of consumerism and present different viewpoints as to why women’s desire to collect shoes sometimes exceeds necessity and practicality. Clearly we attach many different meanings and values to shoes, both unconsciously and on purpose. How do women, who purchase shoes markedly more than can be termed reasonable, themselves view their habit? What kind of different meanings do shoes have for them? I collected my data using theme interviews. I chose my interviewees based on the criteria that either they themselves identify, or their friend or acquaintance identifies them as passionate shoe collectors. An interesting aspect about shoe collectors is that women recognise themselves easily from the description of one and are pleased to be identified as such. They seem to accept shoe collecting as a positive vice. I interviewed five women from different age groups and economic backgrounds. Thus, their situation differed in terms of how much they could spend on shoes. I planned the interviews based on the viewpoints found in the literature I researced. I transcribed the interviews and used discourse analysis to identify and categorise themes from the data. I then discussed them side-by-side with the theory. The themes that emerged from the data also had an influence on the viewpoints included in the study and the aspects I wanted to emphasise. Most of my interviewees did not have any clear arguments for collecting or accumulating shoes, but being around all the pairs of shoes would bring up many quite surprising connections to other subject matters. The irresistibility of shoes, brought up viewpoints of the concept of identity construction, the influence of fashion, style, adornment, aesthetic object, comfort and practicality. I also discuss the communicational aspect of shoes in terms of the individual’s relationship to their community, blending in or standing out. Spending, collecting and owning were integral parts of the phenomenon, but so were defining of the self and building continuity. Collected and kept shoes form a link between a woman’s past, present, and future identities. They document the zeitgeist and memories.

Tiedekunta - Fakultet - Faculty Kasvatustieteellinen Tekijä - Författare - Author Varonen Maria Anastasia Työn nimi - Arbetets titel Luomupuuvillan ja bambukuidun nyppyyntyminen neuleissa Title Organic cotton and bamboo pilling in sweaters Oppiaine - Läroämne - Subject Craft science Työn laji/ Ohjaaja - Arbetets art/Handledare - Level/Instructor Master’s Thesis / Päivi Fernström Aika - Datum - Month and year May 2018 Sivumäärä - Sidoantal - Number of pages 25 pp. + 1 appendice Tiivistelmä - Referat - Abstract Goals The purpose of this study is to find out how the yarns picked up for this study will apply to knitting. The aim of this study is to especially examine how hundred percent organic cotton and bamboo endure consumption in Martindale consumption test and does the loop tightness affect to the pilling of the knit. Previous studies have pointed out that the pilling of knits is a problem in clothing manufacturing and there are many things that affect the pilling. According to the previous studies were able to observe that animal filaments were studied more than materials that are plant filaments. In this study plant filaments are in examine and more closely organic cotton and bamboo. Methods This study is quantitative study, more closely empirical study. In this study was intended to describe and demonstrate pilling by charts and pictures. The meaning of this study is to examine the changes that appears into the knits during the tests. The take of this study was very small and therefore the results cannot be generalized. From the results of this study were able to get allusion from the yarns durability because the results were compared into the textile standards. Results In the study were carried out empirical tests with Martindale consumption device. Hundred percent organic cotton knit got better results than bamboo knit. The results were also compared with the guideline of the standard SFS-EN ISO 12945-2. Only one sample did get the rank that would pass the standard and it was the organic cotton knit which was knitted with the smaller loop tightness. In the study was noticed that loop tightness has remarkable impact on the pilling. The bigger the loop tightness is the more and easily the knit was about to pill. From this study can be drawn the conclusion that neither of the yarns apply to be used in big knitting jobs because they were weak from their durability and easily pilling. From this study’s results cannot make any bigger conclusions but the results give some references about these yarns durability and pilling that were tested in this study. Avainsanat - Nyckelord Nyppyyntyminen, Martindale, luomupuuvilla, bambu Keywords Pilling, Martindale, organic cotton, bamboo Säilytyspaikka - Förvaringsställe - Where deposited Helsinki University Library – Helda / E-thesis (theses) Muita tietoja - Övriga uppgifter - Additional information

This Bachelor’s thesis reviews the current state of the so-called ‘maker culture’, which originated in the United States, within the field of Finnish design and technology education. In particular, I focus on the physical and social constructs of learning environments within the maker culture. The ‘makerspaces’ emerging from this movement represent an up-and-coming trend in learning environments at all levels of education. I used qualitative research methods to answer two research questions: (1) how to equip makerspaces based on the latest research, and (2) what kinds of learning do makerspaces support? The research undertaken in this thesis emerges from the practical need to acquire more knowledge for building new types of learning environments and cultures. At the moment, no extensive research on the maker culture exists in Finnish, but English-language materials are readily available. The theoretical part of the thesis consists of three chapters, which describe the maker culture and the makerspace phenomenon in general, while paying specific attention to the learning environments and their educational context. The qualitative research method selected for the study involved conducting a systematic literature review to evaluate the available material and its contents. The contents were analyzed from four perspectives: space, instruments, services, and activity culture. The analysis revealed that makerspaces can be equipped with modern technology, such as 3D printers and laser cutters, but they also feature traditional and recycled tools and materials. The results show that to ensure the functionality and accessibility of makerspaces as learning environments, the stakeholders and the culture of the respective subject must be taken into account in the design and construction of makerspaces. The pedagogy of the learning environment emphasizes the sharing of competence, thus reflecting the concept of collective competence. Finally, community makerspace learning environments were found to support phenomenal and exploratory learning, which may stimulate an entrepreneurial attitude. The results of the thesis can be used to design new, more diversified learning environments, and to inform decision-making when planning the pedagogy and architecture of new learning environments.

Slow fashion as a term is still stabilizing its place and its significance is not yet extensively in the consciousness of fashion consumers. In this research I figure out about what the values and meanings of the concept of slow fashion are in the literature, and on that basis I investigate how slow fashion and its values and meanings appears in the websites description texts of domestic textile and clothing industry companies, based on ecolocigal and sustainable values. For the exaination of the phenomenon I have formed three themes from the basis of the theoretical background: design, production and user’s perspective. The material consisted about description texts of nine textile and clothing industry companies. The texts summarize the company and its values, and they were most commonly found on the web pages under "us" or "about us" tabs. I used content analysis to analyze the material and thematised it. First, I organized the expressions found in the material based on the three themes I formed on the basis of the theoretical background. After that I made own thematising frame to all these three theme. I built a whole new outline based on the contens of the material. In every texts about material were appeared expressons for all the three themes; design, production and user’s perpective. The themes were mixed together yet the contents of the phenomenon unchanged. There was formed three new themes about slow fashion in description texts of textile and clothing industry companies: responsibility in production, appreciation of local resources and resource saving. The values and meanings of slow fashion in the description texts correspond contentually to the literary image of the phenomenon, but the emphasis of content in these two different contexts is different.