SHIBORI ON KNITS

FUNG SIN TUNG BA (Hons) Scheme in Fashion and Textiles (Knitwear Design with Technology Specialism)

INSTITUTE OF TEXTILES & CLOTHING THE HONG KONG POLYTECHNIC UNIVERSITY 2012

SHIBORI ON KNITS

A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Bachelor of Art (Honours) in Fashion and Textiles (Knitwear Design with Technology Specialism) under the Supervision of Dr. Kinor Jiang by Fung Sin Tung

Institute of Textiles & Clothing The Hong Kong Polytechnic University May 2012

ACKNOWLEDGEMENTS

I would like to express my sincere gratitude to Dr. Kinor Jiang, for his constant guidance, invaluable advice and sustained interest throughout my preparation of the project work.

CERTIFICATE OF ORIGINALITY

I hereby declare that this thesis is my own work and that, to the best of my knowledge and belief, it reproduces no material previously published or written, nor material that has been accepted for the award of any other degree or diploma, except where due acknowledgement had been made in the text.

_ __________________FUNG SIN TUNG

(Signed) (Name of student)

ABSTRACT

With Shibori, the fabric treated will give a three-dimensional effect on the fabric surface by crumpling, folding, wrapping, compressing, plaiting, stitching, or twisting and plucking etc. This project was focused on the use of the Shibori techniques, chemical etching on metals and felting on wool, and a combination of them to explore a new dimension of textile design on knits with selected contents. Both the technical and design areas of this study were recorded and discussed in this project.

Metallic yarns and wool yarns were knitted into pieces of jacquard fabric. With the application of conventional Shibori techniques, chemical etching on metals and felting on wool, the knitted fabric samples were developed for further application.

Based on the experimental work of applying Shibori techniques, chemical etching and felting on knitted fabric, the project also focused on the creative methods to generate the new dimension of knitted i

fabric designs. The knitted fabric obtained was further launched for a collection of creations.

The ultimate goal of the project is to add a new value on knitted fabric design by improving both the aesthetic functions and commercial values of knitted fabric. The application of these techniques can serve as a new and completed method to create innovative knitted fabric design for the future.

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LIST OF FIGURES

Pages Figure 2-1 (a) Fabric with Hitta Kanoko applied, (World Shibori Network) (b) Kimono with Kanoko applied as the background, (Kozo Takeda, 2011) Figure 2-2 (a) Fabric with Miura applied, (Kozo Takeda, 2011) (b) Kimono with Miura applied, (Kozo Takeda, 2011) Figure 2-3 Figure 2-4 Figure 2-5 Figure 2-6 Kimonos with Kumo applied, (Kozo Takeda, 2011) Kimono with Nui applied as the background, (Kozo Takeda, 2011) Kimono with Suiji applied, (Kozo Takeda, 2011) (a) Hand painting Arashi Shibori poles (b) Its outcome, shiborigirl.wordpress.com, 2006 Figure 2-7 Figure 2-8 Kimono with Itajime applied, (Kozo Takeda, 2011) Summer kimono called yukata. Nui-Shibori and Miura-Shibori techniques applied to create white areas, cotton dyed in indigo, Arimatsu-Narumi, 19th century. Figure 2-9 Figure 2-10 Kimono with Miura applied, (Kozo Takeda, 2011) Aigi or shitagi, under layer of a set of kimono, carved-board clamp resist dyed with coveted beni (red dye) on silk, Japan, 19th century. Figure 2-11 Blumarine, Spring/Summer 2010 Ready-To-Wear Collection 23 21 21 20 19 18 17 16 15 14 13

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Figure 2-12 Figure 2-13 Figure 2-14 Figure 2-15 Figure 2-16 Figure 2-17

Proenza Schouler, Spring/Summer 2010 Ready-To-Wear Collection Ports 1961, Spring/Summer 2010 Ready-To-Wear Collection Lamp, (Murase, 2011) The scales on a wool fibre X1300. (Saville, 1999) Felted wool circles of fabric stitched and dyed (Iwatsubo, 2001) Jeung-Hwa Park: (a) Panel 1 and (b) Panel 2 (Machine Knit, Tie, Felt, Dye), Hong Kong 8th International Shibori Symposium

23 24 25 26 28 29

Figure 2-18 Figure 2-19 Figure 2-20

Metallic core yarn from Winning Textile Blended metallic yarn by twisting from Winning Textile Schematic representation of the laminating process for metallic tapes / yarns, (Jiang, 2005)

31 31 32

Figure 2-21 Figure 2-22 Figure 2-23 Figure 2-24 Figure 2-25 Figure 2-26 Figure 2-27 Figure 2-28 Figure 2-29 Figure 3-1 Figure 3-2

Etched in ferric chloride for PCB production at home, Wikipedia Metallic fabric with chemical etching and dyeing applied, (FUNG, 2010) Poster of The Art of Fashion: Experimental Textiles (Jiang, 2010) A diagram of a loop, (Yue, 1991) The technical front and back of a single knitted fabric, (Yue, 1991) The technical front and back of a tuck loop, (Yue, 1991) The technical front and back of a miss loop, (Yue, 1991) Electronic flat, (Au, 2011) V-bed knitting machine, (Au, 2011) 100% Lambs Wool (a) Black metallic yarn (b) Pink metallic yarn(62% Metallic (Nylon film), 38% Wool-nylon)

33 34 35 36 37 38 38 39 40 49 52

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Figure 3-3

Float jacquard knitted fabric with wool yarn (100% Lambs Wool) and metallic yarn (62% Metallic (Nylon film), 38% Wooly-nylon)

53

Figure 3-4 Figure 3-5

STOLL CMS 822 (a) 1x1 stripping, float jacquard, with wool yarn (100% Lambs Wool) and black metallic yarn (62% Aluminium (Nylon film), 38% Wooly-nylon) (b) 2x2 stripping, same as (a) (c) 3x3 stripping, same as (a) (d) 1x1 stripping, float jacquard, with wool yarn (100% Lambs Wool) and pink metallic yarn (62% Aluminium (Nylon film), 38% Wooly-nylon) (e) 2x2 stripping, same as (d) (f) 3x3 stripping, same as (d)

54 55-56

Figure 4-1

(a) 1x1 stripping, float jacquard, with wool yarn (100% Lambs Wool) and black metallic yarn (62% Aluminium (Nylon film), 38% Wooly-nylon) (b) 2x2 stripping, same as (a) (c) 3x3 stripping, same as (a) (d) 1x1 stripping, float jacquard, with wool yarn (100% Lambs Wool) and pink metallic yarn (62% Aluminium (Nylon film), 38% Wooly-nylon) (e) 2x2 stripping, same as (d) (f) 3x3 stripping, same as (d)

60-61

Figure 4-2 Figure 4-3 Figure 4-4 Figure 4-5 Figure 4-6 Figure 4-7 Figure 4-8

Dye bath prepared Etching solution prepared (a) Chess, (b) Flex thread, (c) wooden stick, (d) clips Fabric with Shibori techniques applied Samples of Category 1 Samples of Category 2 Samples of Category 3

62 63 64 65 67 68-69 69 v

Figure 4-9

(a), (b), (c): Samples of Category 1 (d), (e), (f), (g), (h): Samples of Category 2 (i), (j), (k): Samples of Category 3

70-71

Figure 4-10 Figure 4-11

(a) Blue dye bath and (b) Red dye bath prepared (a), (b), (c), (d), (e): Beads with different shapes (f): Needle-and-threads, coarse thread

75 76

Figure 4-12

(ai),(bi): Fabric (a) mentioned in 4.2.1.1 (ci): Fabric (c) mentioned in 4.2.1.1 (di), (gi): Technical back of Fabric (a) mentioned in 4.2.1.1 (ei), (fi): Fabric (d) mentioned in 4.2.1.1 (aii) to (gii): Middle stages of samples (aiii) to (giii): Resulted samples

77-78

Figure 4-13 Figure 5-1

Resulted samples of Experiment 2 Event Deck at L.A. Live, 1005 West Chick Hearn Court, Downtown Los Angeles, California, (Jen Stark, 2011)

79 85

Figure 5-2 Figure 5-3 Figure 5-4 Figure 5-5 Figure 5-6 Figure 5-7 Figure 5-8 Figure 5-9

(a) to (e): Works for HI-FRUCTOSE v.2, (Jen stark, 2011) AD-01 Necklace AD-02 Necklace AD-03 Bracelet AD-04 Bracelet AD-05 Bracelet AD-06 Bracelet AD-07 Necklace

85-86 88 89 90 91 92 93 94

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CONTENTS

Pages

ACKNOWLEDGEMENTS CERTIFICATE OF ORINGINALITY ABSTRACT LIST OF FIGURES CHAPTER 1

1.1 1.2 1.3 1.4 1.5 i iii 1 1 4 5 6 8 10 10 10 12 20 24 25 25 26 27 vii

INTRODUCTION

Background of Study Objectives Scope of Study Methodology Significance and Contribution

CHAPTER 2
2.1

LITERATURE REVIEW

Shibori 2.1.1 2.1.2 2.1.3 2.1.4 Introduction to Shibori Shibori Techniques Shibori Applied on Fashion Shibori Applied Apart from Fashion

2.2

Shibori Felting 2.2.1 2.2.2 2.2.3 Wool Fibre Felting Shrinkage of Wool Shibori Felting Applied on Fashion

2.3

Chemical Etching on Metallic Fabric 2.3.1 2.3.2 2.3.3 2.3.4 Metallic Textile Production of Metallic Yarn Chemical Etching Process Chemical Etching of Metallic Fabric Applied on Fashion

29 29 30 32 34 35 35 36 39 40 41 41 42 44 46 48 48 48 49 49 51 52 53 54

2.4

Knitting Technology 2.4.1 2.4.2 2.4.3 2.4.4 Introduction to Knitting Principle of Weft Knitting Knitting Machines Physical Properties of Knitted Fabric

2.5

Dyeing Technology 2.5.1 2.5.2 2.5.3 Principle of Dyeing Classification of Dyestuffs Dyeing Process

2.6 Summary

CHAPTER 3

DEVELOPMENT OF DESIGNS ON KNITS BY SHIBORI

3.1 Introduction 3.2 Development of Knitted fabric 3.2.1 Materials Wool Yarn and the Correlated Dyestuffs Metallic Yarn Their Blends 3.2.1.1 3.2.1.2 3.2.1.3 3.2.2 3.2.3

Knitting Machine Knitting Structures: Float Jacquards

3.3 Combining Shibori Felting and Chemical Etching Techniques 3.3.1 Principle 56 57

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CHAPTER 4

EXPERIMENTS OF COMBINING SHIBORI FELTING AND CHEMICAL ETCHING TECHNIQUES

59 59 59 60 60 61 62 63 64 66 72 74 74 74 74 75 75 76 77 80 81 82 82 82 83 87 95 ix

4.1 Introduction 4.2 Experiment 1 4.2.1 Materials Developed Knitted Fabric Dyestuffs Chemicals for Chemical Etching Equipment and Tools 4.2.1.1 4.2.1.2 4.2.1.3 4.2.1.4 4.2.2 4.2.3 4.2.4

Procedures Results Conclusion and Analysis of the Results

4.3 Experiment 2 4.3.1 Materials Developed Knitted Fabric Dyestuffs Chemicals for Chemical Etching Equipment and Tools 4.3.1.1 4.3.1.2 4.3.1.3 4.3.1.4 4.3.2 4.3.3 4.3.4

Procedures Results Conclusion and Analysis of the Results

4.4 Summary of the Results

CHAPTER 5

CREATION OF DESIGNS ON KNITS BY SHIBORI

5.1 Introduction 5.2 Design Concept 5.3 Design Inspiration 5.4 Design Collection 5.5 Summary

CHAPTER 6

CONCLUSIONS and RECOMMENDATIONS

97 97 100 102

6.1 Conclusions 6.2 Recommendations

REFERENCES

CHAPTER 1 INTRODUCTION

1.1 Background of Study

The word Shibori being used worldwide is originally a Japanese wording which refers to numbers of ways for designing textile by shaping fabric and then fixing before dyeing. The word is originally from the Japanese verb root Shiboru, to wing, squeeze and press., emphasizing the action of manipulating fabric. However, Shibori is often wrongly recognized as Tie-dye in Western, which simply means resist-dyeing on a two dimensional surface. Actually, Shibori describes the patterning process of manipulation of fabric from a two-Dimensional surface into a three-Dimensional shape while dyeing is applied. (Wada, 2002)Therefore, Shibori is translated the most closely as Shaped resist dyeing. Apart from the unique three dimensional resist dyeing effect, Shibori treated fabric also has a special characteristic, which is a soft- or blurry-edged pattern with crinkled textures. This effect is quite different from the sharp-edged obtained from stencil,

1 CHAPTER 1

pasted, and wax. (Wada, Rice & Barton, 1999) Therefore, Shibori is an unique dyeing technique which is desired to be explored.

With Shibori, the fabric treated will give a three-dimensional effect on the fabric surface by crumpling, folding, wrapping, compressing, plaiting, stitching, or twisting and plucking etc. Fabric treated by the above methods is then secured by numbers of ways, such as binding, knotting and capping etc. When the fabric is untied back to the

original form, the result of the design emerged is the three dimensional shape, the type of resist, and the amount of pressure exerted by tools that secured the shape during exposure of the fabric to the dye. Both the shape and the pressure exerted on the fabric are sensitively recorded and it is the Memory that remains on the fabric. (Wada, 2002) This is the potential of Shibori for creating shaped-resist designs in which the Japanese concept of Shibori recognizes and explores. (Wada, et al, 1999)

In addition to Shibori techniques mentioned above, it encompasses high-tech processes like melt-off on metallic fabric, the felting on 2 CHAPTER 1

wool which makes it possible to turn fabric made of animal fabric into free dimensional shapes etc. Melt-off on metallic fabric is

technically termed as chemical etching on metallic fabric. Metallic fabric used for chemical etching is normally woven with polyester or nylon metallic yarn. (Wada, 2002) After applying the Shibori

techniques on the metallic fabric, it is then soaked into a chemical solution in order to dissolve the metal of the exposure area. Only the area covered will remain metallic shine. And then the fabric can be further dyed using Shibori techniques to obtain more colours. Apart from chemical etching, a combined technique of Shibori dyeing and felting on knits is also an interesting way to create three dimensional dyed knits. Felting, also called fulling, is achieved by felting shrinkage of wool. Scales on wool fibre make it possible to be felted. After washing with heat and agitation, the wool fibres will entangle causing matting and shrinking to form a tighter and cohesive structure.

As a whole, this project was focused on the use of the above Shibori techniques, chemical etching on metallic textile and felting on wool, and/or a combination of them to explore a new dimension of textile 3 CHAPTER 1

design on knits with selected contents. Both the technical and design areas of this study will be recorded and discussed in this project for future reference. In addition, the designed knitted fabric will be applied on the area of fashion.

1.2 Objectives
This project is aimed at exploring the potential of application of different Shibori techniques on knitted fabrics in order to introduce an innovative method on textile design on knits. This project is focused on the production of creative knitted fabric design by a combination of Shibori techniques, chemical etching on metallic textile and felting on wool. The principle objectives of the project are summarized as follows: 1. To introduce an innovative design concept for textile design on knitted fabric by combing certain Shibori techniques; 2. To design knitted fabrics with the concern of fabric contents, structures, colours and treatment technology;

4 CHAPTER 1

3. To establish textile design models of knitted fabric designs by Shibori techniques, and to select appropriate physical and chemical treatment methods; 4. To evaluate the aesthetics of the Shibori applied knitted fabrics by analytical techniques; 5. To add a new value on knitted fabric and to apply the designs on fashion area.

1.3 Scope of Study

This project is focused on the application of conventional Shibori techniques, chemical etching on metallic textile and felting on wool, on knitted fabrics with selected contents and structures. From the history of Shibori, technology of chemical etching on metallic textile, theory of wool felting, fundamental knitting technology, to dyeing technology, they are all studied. In addition, design process of textile design is also carried out in this project.

5 CHAPTER 1

1.4 Methodology
There are mainly five studies planned, in order to achieve the objectives mentioned in this project. The five studies are listed as follows: Study 1: Literature review Study 2: Experiment, production and evaluation of small samples Study 3: Design progress Study 4: Experiment, production and evaluation of fabric swatches Study 5: Design Application and analysis

Before starting any experiments, research was done by literature reviewing to trace the root of Shibori, the technological development of chemical etching on metallic textile, the theory of wool felting, the fundamental knitting technology and the theory of textile dyeing (Study 1).

As fabrics physical and chemical structures contributed a lot on the three-dimensional effect, before starting design, deciding suitable fibre contents and knitting structures of knitted fabric to be used 6 CHAPTER 1

for Shibori is important, and it was done by literature review and expert consultation. Pure wool and metallic knits were the desired fabrics, but experiment for selecting particular fabrics was still needed, and also it could be a trial before starting to produce the real swatches (Study 2). After the experiment in Study 2, a collection of small samples with different combinations of fabric contents, fabric structures, colours and techniques applied on were produced for further development. The etching effect and the three-dimensional effect of the produced samples were evaluated by comparison among the swatches produced and aesthetic evaluation was done by analytical methods before producing the real swatches.

Then, a collection of illustrations or conceptual drawings of Shibori designs applied on knits were produced after being inspired and getting the main design concept, in which could be from the samples produced in Study 2, research, life-experience and expert consultation. All designs were created around a theme or several related themes, so that a collection of designs of fabric swatches could be produced (Study 3). By applying individually or a combination of the Shibori techniques 7 CHAPTER 1

(Kanoko, Miura, Kumo, Nui, Suji, Arashi, Itajime shibori (World Shibori Network)) and modern techniques (Shibori felting on Wool, Chemical etching on metallic knits), a collection of fabric samples were produced according to the illustrations developed previously. The etching effect and the three-dimensional effect of the produced samples were evaluated by comparison among the swatches produced and aesthetic evaluation was done by analytical methods (Study 4). Finally, the swatches produced were applied on fashion, furniture or as a sole art piece etc. (Study 5).

1.5 Significance and Contribution

The current project has suggested an innovative method for textile design on knitted fabric. The originality of the project includes the application of Shibori techniques, in which combine conventional Shibori techniques, chemical etching on metallic textile and felting on wool, on knitted fabrics with selected contents and structures. The major significance of this project is to add a new value on knitted fabric design by improving both the aesthetic functions and commercial values of knitted fabric. The application of these techniques can serve 8 CHAPTER 1

as a new and completed method to create innovative knitted fabric design.

9 CHAPTER 1

CHAPTER 2 LITERATURE REVIEW

2.1 Shibori 2.1.1 Introduction to Shibori

Shibori () is a Japanese term for treatment of textile by dyeing with patterns generated by folding, binding, stitching, twisting, compressing or capping etc. The mentioned methods are categorized as tie-dye in the Western society; however, Shibori is definitely more than the tie-dye. It is a shaped-resist dyeing technique, in which instead of only creating two-dimensional patterns on fabric surface, a three-dimensional object can be created. After shaped-resist dyeing, a "memory on fabric" -permanent record, whether of patterning or texture will be left according to the particular types of resist done.

A wide range of Shibori techniques and patterns are found in many parts of the world in the past, including China, Japan, the Indonesia, Turkey, Persia, Morocco, Mongolia, Western Africa, Tunisia and Central and Latin America. (Wada, 2012) Among the mentioned places, Japan got the 10 CHAPTER 2

largest collection of Shibori artwork. In Japan, the earliest known example of Shibori applied work, dated from the 8th century was among the goods donated by the Emperor Shmu to the Tdai-ji in Nara, the great Buddhist temple in the imperial capital. (Wada, 2002) With the patronage of the lord and a strong sense of cooperation among the Shibori merchants, the Arimatsu-Narumi region (nowadays Nagoya) became a center of Shibori products. The techniques and designs of Arimatsu were developed primarily by the Shibori artisans who created spiritual motifs while introducing unlimited variations to the process. The found motifs included wood grain, starfish and mountain path etc. (Wada, 2012)

Until the 20th century, only a limited variety of fabrics and dyes were used in Japan. The most popular fabrics used were made from cellulosic fibres, such as hemp and cotton; and animal fibre, such as silk. Besides, the dye applied was normally natural dyes including indigo, madder and purple root. Nowadays, the most common natural materials for Shibori are still woven silk, cotton, linen and sometimes wool. Synthetic fibres such as nylon, polyester and rayon, or their 11 CHAPTER 2

mix with other natural or manmade fibres, or metallic yarn etc. become more popular and they are usually woven in structure for Shibori. (Wada, et al., 1999) On the other hand, knitted fabric is still an under-explored area for Shibori. And it is believed that knitted fabric also has the potential to be created as an interesting and modern art piece by Shibori techniques. In this project, common fibres such as pure wool knits and modern metallic knits are treated with both of the traditional and the following mentioned modern Shibori techniques.

2.1.2 Shibori Techniques

In traditional Shibori crafts, artists have devised several techniques in which the handwork is found to be the most efficient to achieve the goal of production. (World Shibori Network) And, there are many traditional Shibori techniques including Kanoko, Miura, Kumo, Nui, Suji, Arashi, Itajime shibori (World Shibori Network) etc. These Traditional Shibori techniques are introduced with examples in the following.

12 CHAPTER 2

Kanoko, known as bound resist, is the most common methods to make patterns on fabric by drawing up certain amount of fabric using fingers, and the drawn fabric is then bound with thread. The way the fabric being drawn up, the tightness exerted by binding, the density of binding applied, and the density of the plucks applied, determine the resulting patterns. For instance, if the fabric is just drawn and bound in a simple way, the resulting pattern will be scattered rings resisted from dye; if the fabric is fold and bound on bias, the pattern will be a diagonal arrangement of resisted diamond patterns. (World Shibori Network; Wada, et al., 1999) Two examples of applying Kanoko on a fabric and a kimono are shown in the following Figure 2-1 respectively.

(a) Figure 2-1, Network)

(b)

(a) Fabric with Hitta Kanoko applied, (World Shibori (b) Kimono with Kanoko applied as the background, (Kozo Takeda, 2011) 13

CHAPTER 2

Miura, known as loop binding, in which a certain amount of fabric is gathered with a hook; and then the fabric is bound by thread without knotting. The bound portion of the fabric is hold by tension by the thread. Since knotting is not applied in the binding process but only looping, it results in a soft watermark-like pattern. Because it doesnt cost much, and the size, arrangement, and scale are easy to be controlled, Miura Shibori has been applied in a wide range of household goods, such as wash towel or head kerchief. (World Shibori Network) Two examples of applying Miura on a fabric without dyeing and a kimono are shown in the following Figure 2-2 respectively.

(a) Figure 2-2,

(b)

(a) Fabric with Miura applied, (Kozo Takeda, 2011) (b) Kimono with Miura applied, (Kozo Takeda, 2011)

14 CHAPTER 2

Kumo, known as pleated and bound resist, fabric is created by varying the amount of binding, in which is then gathered into certain hornlike units. The fabric is bound from the bottom to the top, then down again to the bottom before gathering and binding the upcoming horn. A circular pattern of radial lines against the reserved white background is obtained and looks like a spider web. Kumo shibori can be achieved by tying fabric by hands (te gumo) or with the help of tools (kikai gumo). (World Shibori Network; Wada, et al., 1999) Two examples of applying Kumo on kimono are shown in the following Figure 2-3.

Figure 2-3, Kimonos with Kumo applied, (Kozo Takeda, 2011)

Nui, known as stitch resist, is done by stitching on the fabric with different arrangement of the stitches, such as straight, parallel, curved lines, or enclosing etc. After stitching, the fabric is drawn 15 CHAPTER 2

to form gathers along the stitch lines, and then secured by knotting. The portion of fabric within the gathers is prevented from dyeing leaving a whit ground. The stitching allows a high flexibility and can be manually controlled to create a great variety of patterns. The only disadvantage is time-consuming. (World Shibori Network; Wada, et al., 1999) An example of applying Nui on a kimono is shown in the following Figure 2-4.

Figure 2-4, Kimono with Nui applied as the background, (Kozo Takeda, 2011)

Suji, is done by pleating on the fabric by hand, machine, or stitching, then pleated fabric is bound around by thread to maintain the pattern and shape of the pleats. The fabric with pleats is bound tightly lengthwise with thread before applied to the dye. This important action 16 CHAPTER 2

allows only the exposure of the peaks of each pleat to the dye. And the resulting pattern is vertical stripes. By changing the sizes of pleats or the binding intervals, repeating the process of pleating and dyeing, or reversing the valleys and peaks of the pleats, a wide variety of designs can be created. Applying Suji on fabric is relatively easy to handle and inexpensive to be produced compared with other Shibori techniques. As a result, fabrics with the technique applied are widely used in indigo-dyed cotton kimonos and in silk underkimonos for the more privileged class. (World Shibori Network; Wada, etal., 1999) An example of applying Suji on a kimono is shown in the following Figure 2-5.

Figure 2-5, Kimono with Suiji applied, (Kozo Takeda, 2011)

17 CHAPTER 2

Arashi, known as diagonal pole wrap, is to create dye-resist patterns by wrapping fabric around a pole, and compressing it into folds or pleats, and then applied to dyeing. The resulting patterns are arranged into diagonal lines which simulate rain storm; hence, it is also called Storm motif. The original process was further developed by using plastic pipe with short length and turning the pipe manually and then winding around with thread by hand. Contemporary textile artists have made use of the fine pleated textures dominated in Arashi to design many fashion arts. Well-known examples can be from artist Karren K. Brito-Entwinements. (World Shibori Network; Wada, et al., 1999) An example of applying Arashi on a fabric roll and the outcome are shown in the following Figure 2-6.

(a) Figure 2-6,

(b)

(a) Hand painting Arashi Shibori poles (b) Its outcome, shiborigirl.wordpress.com, 2006

18 CHAPTER 2

Itajime is done by folding and clamping. The clamping area is dye-resist and the most common pattern found is check. In general, the fabric is placeded between two pieces of wooden objects which can be in different shapes, and then secured in place with strings. Nowadays, more artists use shaped objects cut from acrylic or plexiglass and hold the shapes in place with C-clamps. The shapes of the equipment provide a coverage which prevents the covered area from dyeing. The resulting patterns are dye-resisted shapes of the equipment with relatively clear edges. An example of applying Itajima on a kimono is shown in the following Figure 2-7.

Figure 2-7, Kimono with Itajime applied, (Kozo Takeda, 2011)

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2.1.3 Shibori Applied on Fashion

Shibori is originally found in Japan and it has long been applied on Japanese fashion. The most well-known application of Shibori in the past in Japan was kimonos, traditional apparels from ancient Japan until now. Indigo-dyed kimonos are the most common as shown in Figure 2-8 and Figure 2-9. Apart from indigo-dyed kimonos, there are kimonos dyed in different colours as shown in Figure 2-10.

Figure 2-8, Summer kimono called yukata. Nui-Shibori and Miura-Shibori techniques applied to create white areas, cotton dyed in indigo, Arimatsu-Narumi, 19th century.

20 CHAPTER 2

Figure 2-9, Kimono with Miura applied, (Kozo Takeda, 2011)

Figure 2-10, Aigi or shitagi, under layer of a set of kimono, carved-board clamp resist dyed with coveted beni (red dye) on silk, Japan, 19th century.

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Apart from Japanese traditional fashion, Shibori-applied fashion can also be found all over the world. The following are the recent collections from different brands who had applied Shibori techniques in their collections.

In Blumarines Spring/Summer 2010 Ready-To-Wear collection, a lots of colourful Shibori applied dresses and knitted items could be found as shown in Figure 2-11. Blumarine offered mind-refreshing designs that appeal to a bright color palette and could be very wearable during summer. The dresses as well as accessories all presented colourful and abstract patterns achieved by Shibori techniques. From Proenza Schoulers Spring/Summer 2010 Ready-To-Wear collection as shown in Figure 2-12, Hernandez and his partner, Jack McCollough, started playing with Shibori techniques and scuba elements for Resort. Proenza Schouler made use of bright neon tones, such as electric blue and green to create unique Shibori patterns. The sections with Shibori applied add finesse and at the same time a Rock chic mood to the collection. In Ports 1961s Spring/Summer 2010 Ready-To-Wear collection as shown in Figure 2-13, the use of shimmery fabrics and monotones used grants 22 CHAPTER 2

the patterns of Shibori with a flamboyant tint. The designer stroked a right balance between subtle colours and interesting Shibori patterns, which made the collection more wearable but still innovative in design.

Figure 2-11, Blumarine, Spring/Summer 2010 Ready-To-Wear Collection

Figure 2-12, Proenza Schouler, Spring/Summer 2010 Ready-To-Wear Collection

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Figure 2-13, Ports 1961, Spring/Summer 2010 Ready-To-Wear Collection

2.1.4 Shibori Applied Apart from Fashion

Besides, Shibori-applied furniture can also be found in the markets nowadays and it is interesting to find something else apart from fashion with Shibori applied on. The following art piece as shown in Figure 2-14 is a lamp created by a Japanese artist, Hiroshi Murase with Kumo Shibori applied. Murase, the director of Suzusan, is the 4th Generation in practicing Shibori in his family. His business in Japan is textiles and fibres design by Shibori techniques. Suzusan successfully combines tradition of Shibori techniques and modern designs, and its products are being more popular around the world, especially for Europe. Based on Murases design concepts, Murase made use of three-dimensional patterns, exciting contrasts or soft, and the transitions of colours 24 CHAPTER 2

to create unique products from selected fabrics. There are a wide range of products can be found in Suzusan, such as fabric art pieces, accessories and luminaries for different area including fashion, furniture, interior designs. Internationally renowned designers and labels such as Issey Miyake, Calvin Klein, Junya Watanabe and Yohji Yamamoto have already discovered for the variety of Suzusan fabrics created based on Shibori and tended to cooperate with Suzusan. (Suzusan, 2011)

Figure 2-14, Lamp, (Murase, 2011)

2.2 Shibori Felting 2.2.1 Wool Fibre

Wool is an animal fibre obtained from sheep. It is a kind of proteinous fibre with surface scales in which is the main physical characteristic of wool fibre. These scales are relatively hard and have sharp edges, causing the surface of wool fibre with Frictional Difference (Chen, 25 CHAPTER 2

2002), which is the major cause of felting shrinkage of wool. The following is the microscopic photo of wool fibre as shown in Figure 2-15.

Figure 2-15, The scales on a wool fibre X1300. (Saville, 1999)

2.2.2 Felting Shrinkage of Wool

Felting shrinkage results from the frictional difference of the component fibres, in which leads them to migrate within the structure. (Saville, 1999) Felting is significant mainly for fibres having surface scales such as wool and is related to the directional frictional effect which is also commonly found in wool fibre. Movement of the wool fibres against any surface in the fibre root to fibre tip direction results in contact with the smooth surface of the scales. On the other hand, movement in opposite direction results in contact with the pointed scales edges in which a stronger resistance to movement is

26 CHAPTER 2

promoted and the directional frictional effect is created. (Saville, 1999)

Hot water, agitation and alkaline condition can promote the felting of wool. (Hunter) Hot water allows wool fibre to swell and hence leading the scales on the fibre surface to push more outward, in which promotes the directional frictional effect resulting felting shrinkage. With agitation, movement of wool fibre is promoted. The increased movement of wool fibre can enhance the directional frictional effect and also allow the wool fibre to compact further. Alkaline condition enhances the scales on wool fibre to tangle and hold together, thus the felting shrinkage of wool is further promoted. The results of felting shrinkage of wool fabric are the reduction of the fabric dimension in both lengthwise and widthwise directions, and the increase of fabric thickness.

2.2.3 Shibori Felting Applied on Fashion

The following artwork as shown in Figure 2-16, was created by a young Japanese designer, Mie Iwatsubo. Rather than using woven fabric and 27 CHAPTER 2

applying sole Shibori techniques, Iwatsubo creates designs by combined techniques of Shibori dyeing and felting on knitted fabric. Knitted fabric have a lateral elasticity that makes the pleats and gathers that act as the resist respond differently than that in a woven fabric which has less lateral elasticity. (Iwatsubo, 2004) Therefore, Knits for Shibori and felting is truly possible and the effect is unexpected.

Figure 2-16, Felted wool circles of fabric stitched and dyed (Iwatsubo, 2001)

Jeung-Hwa Park, a Korean artist who created two pieces of fabric artwork with the application of Shibori felting on wool knitted fabric as shown in Figure 2-17. For both fabric art pieces, the area tied with shaped particles were prevented from feting while the other area was undergo felting and shrinking, which in term created a three-dimensional effect on the fabric surface. The three-dimensional effect created

28 CHAPTER 2

was obvious and permanent. That was the effect which the proposed project supposed to be achieved.

(a)

(b)

Figure 2-17, Jeung-Hwa Park: (a) Panel 1 and (b) Panel 2 (Machine Knit, Tie, Felt, Dye), Hong Kong 8th International Shibori Symposium

2.3 Chemical Etching on Metallic Fabric 2.3.1 Metallic Textile

Metallic textiles have long been applied in fashion because of their shinny appearance, high reflection of light, thermo-insulation and electricity conductivity etc.. Conventionally, metallic fabric can be produced in several ways, such as metallic powder printing on normal textile fabric, metallic yarns produced by blending metallic filament with other textile fibres, metallic tapes or yarns produced by 29 CHAPTER 2

lamination. (Jiang, 2005), and sputter coating on surface of textile fabric. (Yip, 2009) In this project, knitted metallic fabric is focused and the basic element for knitted metallic fabric is metallic yarns.

2.3.2 Production of Metallic Yarn

There are several ways for producing metallic textiles, such as metallic yarns blending metallic filament with other yarns, metallic fabric produced by vacuum deposition or sputtering technology, and metallic thin strips produced by lamination. In this project, blending and lamination will be studied.

Typically, blending method involves wrapping metallic yarn around a core yarn made from natural or synthetic materials in order to produce a lustrous surface as shown in Figure 2-18. Moreover, blending can also be done by twisting a metallic yarn with other yarns made from different materials as shown in Figure 2-19. They are most commonly used in knitting and sewing.

30 CHAPTER 2

Figure 2-18, Metallic core yarn from Winning Textile

Figure 2-19, Blended metallic yarn by twisting from Winning Textile

Lamination is a process which sandwiches a piece of metal foil between layers of plastic films. A kind of adhesive is applied to both sides of the film and metallic foil. Then, the combined film is slit into strips with specific width. The strips produced are so called synthetic slit film as shown in Figure 2-20. (Kadolph, 1998) Being incorporated into a polymeric carrier, the metallic foil can also be spread onto the surface of fabric as a coating. On the other hand, metallic yarns can be produced by vacuum deposition to lay Aluminium, titanium etc. 31 CHAPTER 2

on synthetic fabric which is then slit into fine strips. (Jiang, 2005) Colours can be added by applying pigments on the metal foil or in the adhesive or coating; sticking with pre-coloured plastic films.

Figure 2-20, Schematic representation of the laminating process for metallic tapes / yarns, (Jiang, 2005)

2.3.3 Chemical Etching Process

Chemical etching, also known as chemical milling is a process aimed to dissolve unwanted materials, such as metals, semiconductor materials or glass using acids, bases or other chemicals. (Wikipedia) This technique has been applied on a wide variety of metals, such as Aluminium, copper, Nickel and Silver etc. Acids, bases or other chemicals act as a chemical reagent to remove metals and selective etching can be achieved by immersing partially the metals in the reagent. 32 CHAPTER 2

Chemical etching has applied on the printed circuit board as shown in Figure 2-21 and semiconductor fabrication industries.

Figure 2-21, Etched in ferric chloride for PCB production at home, Wikipedia

For textile industry, the most popular used for making metallic threads is Aluminium (Al) because of its desirable manufacturing flexibility, low cost and its chemical activity towards alkaline solution. The chemical etching of Aluminium is done by corrosion of Aluminium by alkaline solution. For this proposed project, a mild solution of soda, Sodium Carbonate (Na2CO3) was used to dissolve Aluminium. Soda was used because it is mild and has less destructive power to fabric, and it has effective corrosion of Aluminium at the same time. (Jiang, 2004) After chemical etching, the area of the metallic fabric, which is exposed to the solution of Soda solution, will be removed leaving the original colour of the fabric as shown in the following Figure 2-22.

33 CHAPTER 2

Figure 2-22, Metallic fabric with chemical etching and dyeing applied, (Fung, 2010)

2.3.4 Chemical Etching of Metallic Fabric Applied on Fashion

The following poster as shown in Figure 2-23, was an exhibition "The Art of Fashion: Experimental Textiles" presented by Dr. Kinor Jiang, lecturer of The Hong Kong Polytechnic University. By focusing on the applications of fashion design and abstract aesthetic artpieces, this exhibition showed experimental textiles including metallized and etched metallic fabrics created from technologies of physical and chemical treatments. (World Shibori Network; Jiang, Yuen & Kan, 2007; Jiang, 2009) Dr. Jiang also worked with other two experts Yuen and Kan to perform a study on the topic of Creation of design on nylon metallic fabric in 2007. A design method for nylon metallic fabric 34 CHAPTER 2

design was studied by applying the chemical etching treatments and dyeing techniques. The study presented by Dr. Jiang was aimed to evaluate the influence of chemical treatments on the nylon metallic fabric for the development of decorative textiles.

Figure 2-23, Poster of The Art of Fashion: Experimental Textiles (Jiang, 2010)

2.4 Knitting Technology 2.4.1 Introduction to Knitting

Knitted fabrics nowadays cover a wide range of structures. They can be mainly divided into two categories, weft knitting and warp knitting. Warp knitting in the market is mainly for the manufacture of lace, 35 CHAPTER 2

blanket, and household products etc., while weft knitting is mainly for the manufacture of apparels. (Au, 2011) Instead of warp knitting, weft knitting was used and studied in this project.

2.4.2 Principle of Weft Knitting

Weft knitted fabric consists of continuous loops which are formed by a single yarn. The Omega shaped loop is the basic element of a knitted fabric as shown in Figure 2-24.

Figure 2-24, A diagram of a loop, (Yue, 1991)

Base on knitting structure, knitted fabric can be simply divided into single and double knitted fabric. Single knitted fabric refers to producing knitted fabrics by a set of needles of knitting machine while double knitted fabric refers to producing knitted fabric by two sets

36 CHAPTER 2

of needles of knitting machines. (Yue, 1991) In this project, single knitted fabric was further studied as below.

For the appearance of single knitted fabric, it has different appearances on the front and back of the fabric as shown in Figure 2-25. The technical front consists of needle loops in V shape while the technical back consists of sinker loops in the shape of semi-circles.

Figure 2-25, The technical front and back of a single knitted fabric, (Yue, 1991)

The basic elements for the formation of knitting structures involves three kind of loops, including knit shown in the above Figure 2-25, tuck, miss loops as shown in Figure 2-26 and Figure 2-27. Basically,

37 CHAPTER 2

all stitches are developed from different combinations of these three loops mentioned above.

Figure 2-26, The technical front and back of a tuck loop, (Yue, 1991)

Figure 2-27, The technical front and back of a miss loop, (Yue, 1991)

Fabric used in this project was without exception formed from knit loops and miss loops, and was studied in the following chapter.

38 CHAPTER 2

2.4.3 Knitting Machines

The three main groups of weft knitting machinery may broadly be classified as either straight bar frames, flats, or circulars, according to their frame design and needle bed arrangement. (Au, 2011) In this project, the kind of machine used was V-bed flat knitting machine shown in Figure 2-28 which is studied in the following.

Figure 2-28, Electronic flat, (Au, 2011)

V-bed knitting machines have two rib gated, diagonally-approaching needle beds, setting at between 90 and 104 degrees (Au, 2011) to each other, giving an inverted V-shape as show in Figure 2-29. V-bed flat machine is operated by cams in a reciprocating carriage with latch needled mounted in the beds.

39 CHAPTER 2

Figure 2-29, V-bed knitting machine, (Au, 2011)

2.4.4 Physical Properties of Knitted Fabric

Knitted fabric has better stretch property than woven fabric made from similar materials. Compared with woven fabrics where the extension is usually less than 10%, knitted fabrics are often able to develop high extensions, as high as 100%, because of the totally different deformation mechanisms between woven and knitted fabrics. (Au, 2011) Therefore, knitted fabric has better elasticity compared with woven fabric because of the deformation of yarn loops.

Besides, knitted fabric also has better recovery property than woven fabric made from similar materials. When a knitted fabric is relaxed after stretching, it can recover to its original dimension quickly. It is because of the quick recovery of the yarn loops. (Au, 2011) However, 40 CHAPTER 2

the dimensional stability of knitted fabric is not good as that of woven fabric. This is due to the relaxation shrinkage after knitting process and felting shrinkage if wool is used.

2.5 Dyeing Technology 2.5.1 Principle of Dyeing

Dyeing is a process of thorough colouration of textiles. In a dyeing process, efficiency of dyeing is directly proportional to the extent of diffusion of dye at the interior of fibre. And, dye is attached with fibre by some sort of forces, may be physical or chemical in nature.

All textile fibres consist of bundles of long molecular chains which are held together in a single fibre by certain attractive forces. Within a textile fibre, the molecular chains are aligned parallel to each other and to the axis of the fibre. The attractive forces between the chains exert their maximum effect to form compact masses of crystalline character, and the region is so-called the crystalline regions. Merging into the crystalline regions, are amorphous regions where the molecular chains are disposed in random directions and the attractive 41 CHAPTER 2

forces between fibre chains are weaker. Along the spaces between the molecular chains in these regions, water and substances, e.g. dyes, diffused in can find their way into the fibre. Absorption of water produces swelling of the fibre, which further facilitates the entry of molecules of dyes. Besides, rise of temperature can increase the accessibility of dyestuffs into fibre. Dye should migrate and diffuse throughout the fibre freely.

2.5.2 Classification of Dyestuffs

Colouring materials, termed as colorants, can be mainly classified into two types, dyes and pigments. Dyes are soluble in water, and are able to penetrate into the fibre and having certain degree of substantivity for it, while pigments are insoluble in water, and have no substantitvity for a fibre, and held mechanically on the surface of a fibre only. In this project, dyes are used as Shibori involves the penetration of colours from dye liquor into the fibre, instead of pigments which are mainly for textile printing.

42 CHAPTER 2

A dye is a colorant that has the substantivity for a substrate. Dyes can be classified either according to their chemical structures or according to their methods of application. A dye has three parts in its structure chromophore, chromogen and auxochrome and is soluble in a specific medium under certain conditions. Chromophore is an unsaturated group that absorbs light and reflects it at specific angle to give the hue; chromogen retains chromophore and plays a crucial role to determine the final hue and its affinity for fibre, fastness, stability, etc. while auxochrome is a substituted acidic or basic group in dye structure to intensify depth of shade, e.g. OH, COOH, SO3H, NH2, NH(CH3), etc. (Shenai, 1987; Finar, 1975). There is no a single dye that is capable of dyeing all textile fibres. A specific class of dye can only be applied to a given type of textile fibre. The following is a table of common dye-class for major fibre types.

43 CHAPTER 2

Types of

Cellulosic

Proteinous

Polyamide

Polyester

Acrylic

Fibres

Fibres

Fibres

& Acetate

Classes

Azoic

Acid

Acid

Azoic

Basic

of Dyes

Direct

Chrome

Chrome

Disperse

Disperse

Reactive

Metal-complex

Disperse

Sulphur

Reactive

Metal-complex

Vat

The Table of Common Dye-class for Major Fibre Types.

2.5.3 Dyeing Process

The process of dyeing may be divided into three phases as the following: Phase 1: Transportation of molecules of dyes from the dye-liquor to the surface of the fibre. Phase 2: Absorption of molecules of dye at the fibre surface. Phase 3: Diffusion of the molecules of dye from surface of fibre to the interior of the fibre.

Molecules of dye in the dye-liquor split up into two parts, positively and negatively charged particles called ions, one of which is 44 CHAPTER 2

coloured. According to the dye-class to which the dye molecule belongs, the coloured ion may be cationic which is positively charged, or anionic which is negatively charged.

For cationic or neutral dyestuffs, they are attracted by the negatively charged surface of the fibres. However, most classes of dyestuffs are anionic, and thus their approach to the fibre surface is supposed to be resisted. By adding neutral electrolytes such as common salt (sodium chloride) or Glaubers Salt (Sodium Sulphate), this problem is solved. These salts on dissolution in water produce a large number of positively charged sodium ions which neutralize and attracted by the negatively charged fibre surface allowing freer access of the coloured ions of dyestuffs to the surface of fibre.

After the attaching to the fibre surface, the dye molecules then diffuse along the fibre pores into its internal structure. To achieve that, dye should migrate and diffuse throughout freely; this depends on size and shape of fibre pores which are to give adequate passage to adsorbed dye molecules. (Chakraborty, 2010) Assisted by attractive forces 45 CHAPTER 2

between dye molecules and internal parts of the fibre and also by natural movement of dye molecules from a more concentrated to less concentrates regions, diffusion continues until every part of the fibre achieve the same concentration of dye molecules. The diffusion of dye molecules from the fibre surface to its internal structure accounts for almost the whole of the dyeing time.

2.6 Summary
The foundation for the research of background of Shibori techniques, Shibori felting, chemical etching on metallic fabric, knitting technology and dyeing technology were studied and reported with brief introductions, principles underlined and application of the mentioned techniques. Shibori has long been applied in fashion. However, woven fabric is usually used for Shibori design, while knitted fabric is still unpopular and under explored for Shibori design. Therefore, application of Shibori on knitted fabric design is desired and worth to be studied. Felting and chemical etching which are modern techniques for Shibori, were selected to be a combined technique on knitted fabric design. The significant literature study briefly described here shows 46 CHAPTER 2

a scope of Shibori felting and chemical etching applied on fashion, which laid the context of the proposed project for knitted fabric design with Shibori techniques.

47 CHAPTER 2

CHAPTER 3 DEVELOPMENT OF DESIGNS ON KNITS BY SHIBORI

3.1 Introduction
Designing knitted fabric with Shibori techniques applied on involves two main design elements: texture and colours. In order to make use of these two design elements, fibre used, dyestuffs used, knitting machine and structures selected, and Shibori techniques applied should be firstly understood as they contribute a lot on the two design elements mentioned. In the following, the area mentioned above were introduced and studied.

3.2 Development of Knitted fabric

Before dyeing with Shibori techniques applied, developing suitable fabric is very important. This is because fabric, which is capable for both felting and chemical etching, is required in this project. In the following, materials, knitting machine and fabric structure selected were studied.

48 CHAPTER 3

3.2.1 Materials 3.2.1.1 Wool Yarn and the Correlated Dyestuffs

One of the selected yarns was 100% Lambs Wool as shown in Figure 3-1. Wool is an animal fibre which has scales on the surface. The scaled surface is the main cause of felting shrinkage of wool as mentioned in the previous chapter. The property of felting shrinkage of wool contributes the possibility of applying Shibori felting on the fabric with wool yarn. Therefore, 100% wool yarn was selected for the purpose of Shibori felting.

Figure 3-1, 100% Lambs Wool

The selected correlated dyestuff for wool was acid dyes. Acid dyes are mostly sulphuric or carboxylic acid salts and are essentially applied from an acidic bath. (Chakraborty, 2010) Acid dyes possess affinity for protein fibres and thus are commonly used in the dyeing of wool. Each wool molecule has NH2 and COOH groups at either ends which are capable of taking part in chemical reaction with molecules of acid dyes. A wool molecule can be presented as H2NWoolCOOH where 49 CHAPTER 3

Wool represents the rest structure of a wool molecule; a dye molecule can be presented as R-SO3Na. The following is the mechanism of dyeing of wool with acid dye.

1. Under water, the wool molecule will be ionized as H3N+WoolCOO.

2. In the acid bath, the negatively charged carboxylate ions (COO-)of wool molecule take up hydrogen ions (H+)released by acid into solution and are transformed to carboxylic acid groups (COOH). At the same time, the acid anions (CH3COO) released from acid are attracted by the positively charged amino ends (WoolH3N+) as shown in the following: H3N+WoolCOO + H+CH3COO(acid) H3N+CH3COOWoolCOOH

3. The formed cation of wool (COOHWoolH3N+) from the previous stage is then attracted with the dye anion (RSO3) through electrostatic force forming ionic bond. H3N+CH3COOWoolCOOH + RSO3Na+(acid

dye)

R-SO3COOHWoolH3N+ + CH3COONa (Chakraborty, 2010) 50 CHAPTER 3

3.2.1.2 Metallic Yarn

The metallic yarns chosen for knitting in this project were produced by the method of blending of metallic tapes produced by lamination with nylon filament. The selected metallic yarn contained 62% Metallic (Nylon film), 38% Wool-nylon in two different colours as shown in Figure 3-2. The yarn was produced by twisting the metallic thin strip with a wooly-nylon filament. The metallic thin strip was produced by sandwiching the aluminum foil between two layers of nylon films. (Jiang, 2005) The production process of this kind of metallic thin strip was called lamination as mentioned in the previous chapter. The colour of the metallic thin strip was achieved by the colour of the nylon films. On the other hand, the aluminum foil was inherently silver in colour. For example, the colour of the black metallic thin strip was achieved by the black nylon films while the aluminum foil in between was always sliver in colour.

51 CHAPTER 3

(a)

(b)

Figure 3-2, (a) Black metallic yarn (b) Pink metallic yarn(62% Metallic (Nylon film), 38% Wool-nylon) The wooly-nylon filament twisted with the metallic thin strip was used to increase the strength and elasticity of the whole metallic yarn in order to make it more suitable for knitting.

3.2.1.3 Their Blends

The wool yarn and metallic yarn were blended by knitting them into vertical stripes alternatively instead of knitting them as a single yarn. The reason behind was to produce a vertical stripe effect as part of the design and allowed the fabric produced could be capable for both chemical etching and wool felting. Therefore, both the 52 CHAPTER 3

techniques can be applied at the same time during dyeing. An example of the knitted fabric produced was shown in the following Figure 3-3, more examples were shown in the following chapter 3.2.3 Knitting structures: Float Jacquards.

Figure 3-3, Float jacquard knitted fabric with wool yarn (100% Lambs Wool) and metallic yarn (62% Metallic (Nylon film), 38% Wooly-nylon)

3.2.2 Knitting Machine

The machine used was a flat bed knitting machine from Stoll as shown in the following Figure 3-4. Stoll is one of the few knitting machines manufacturers, which has been producing flat knitting machines for more than 135 years. The company was founded in 1979 trading under the name Mooser und Stoll electronic in Germany. As well as producing

53 CHAPTER 3

electronic components for knitting machines, this firm also developed specific software for their machines.

The flat bed knitting machine used was a 14 gauge computer-controlled V-bed knitting machine which was the model CMS 822. The machine was equipped with a computer in which it had software M1plus. Once a knitting programme was generated from M1plus, it could be transfer to the machine and knitting action could be carried out.

Figure 3-4, STOLL CMS 822

3.2.3 Knitting structures: Float Jacquards

Jacquard is commonly refers to fabric knitting with patterns. Float jacquard is formed from knit loops and miss loops as mention in the 54 CHAPTER 3

previous chapter. The colour pattern of float jacquard is achieved by showing the loops of the wanted colour on the technical face of the fabric while hiding the unwanted colour as a float yarn at the technical back. That is the reason why it is so called Float jacquard. Float jacquard fabric was selected as it was a kind of single knitted fabric in which the thickness was suitable for applying Shibori techniques.

A set of float jacquard fabric as shown in Figure 3-5 below was developed for experiments carried out in the following chapters.

(a)

(b) (To be continued)

(c)

55 CHAPTER 3

(d)

(e)

(f)

Figure 3-5, (a) 1x1 stripping, float jacquard, with wool yarn (100% Lambs Wool) and black metallic yarn (62% Aluminium (Nylon film), 38% Wooly-nylon) (b) 2x2 stripping, same as (a) (c) 3x3 stripping, same as (a) (d) 1x1 stripping, float jacquard, with wool yarn (100% Lambs Wool) and pink metallic yarn (62% Aluminium (Nylon film), 38% Wooly-nylon) (e) 2x2 stripping, same as (d) (f) 3x3 stripping, same as (d)

3.3 Combining Shibori Felting and Chemical Etching Techniques

Felting and chemical etching are two different techniques which are capable for two different materials respectively. Moreover, principle of felting and that of chemical etching are completely different. As a result, in order to make it possible to combining felting and chemical etching, selection of materials which capable for both techniques and conditions which allow felting and chemical etching can take place 56 CHAPTER 3

at the same time are required. The following is the principle of combining felting and chemical etching underlined.

3.3.1 Principle
In terms of selection of materials, felting is capable for wool fibre while chemical etching is capable for metals as introduced in Chapter 2 Literature Review. Therefore, knitted fabric developed should contain both wool and metallic content, in order to make it capable for both felting and chemical etching. As a result, the knitted fabric developed contained both wool and metallic content as shown in the previous sub-chapter.

Aluminium (Al) was the selected metallic yarn for chemical etching. After chemical etching, the area of the metallic fabric, which was exposed to the solution of the correlated chemical reagent of Aluminium (Al), was going to be etched leaving the original colour of the fabric mentioned in chapter 2. In an etching bath, Aluminium (Al) was going to be dissolved by its correlated chemical reagent, Sodium Carbonate (Na2CO3). The etching bath was a hot solution of Sodium Carbonate (Na2CO3) 57 CHAPTER 3

prepared by dissolving Soda into water and then raising temperature to 100 .

Apart from providing chemicals for the etching of Aluminium (Al), the etching bath also provided suitable conditions for felting of wool to take place. The etching bath is a solution of hot water and alkaline, in which can promote the felting of wool as mentioned in chapter 2. Hot water allows wool fibre to swell and hence leading the scales on the fibre surface to push more outward, in which promotes the directional frictional effect resulting felting shrinkage. Alkaline condition enhances the scales on wool fibre to tangle and hold together, thus the felting shrinkage of wool is further promoted. With the action of agitation, the effect of felting of wool will be further enhanced. As a result, an etching bath can provide conditions for both felting and chemical etching to take place.

58 CHAPTER 3

CHAPTER 4 EXPERIMENTS OF COMBINING SHIBORI FELTING AND CHEMICAL ETCHING TECHNIQUES

4.1 Introduction
Before any application of knitted fabric with Shibori felting and chemical etching techniques on fashion or other areas, experiments of applying combined techniques of Shibori felting and chemical etching on selected knitted fabric were carried out to produce fabric samples for further development. Two experiments were carried out and reported as below. Experiment 1 was aimed at producing trial fabric samples for Experiment 2. The trial fabric samples selected from Experiment 1 were further developed in Experiment 2. Fabric samples produced from Experiment 2 were applied on accessory design in the upcoming chapter.

4.2 Experiment 1
Objective of Experiment 1 was to produce trial fabric samples in which with both Shibori felting and chemical etching techniques applied for 59 CHAPTER 4

further development in Experiment 2. The principle of combining Shibori felting and chemical etching was explained in the previous chapter. Materials used and experimental procedures were recorded as below. And the results were concluded and analyzed.

4.2.1 Materials 4.2.1.1 Developed Knitted Fabric

Developed knitted fabric were float jacquard fabric knitted in different width of vertical stripping with 100% Lambs Wool yarn and coloured 62% Aluminium (Nylon film), 38% Wooly-nylon yarn. Developed knitted fabrics for Experiment 1 were shown in the following Figure 4-1.

(a)

(b) (To be continued)

(c)

60 CHAPTER 4

(d)

(e)

(f)

Figure 4-1, (a) 1x1 stripping, float jacquard, with wool yarn (100% Lambs Wool) and black metallic yarn (62% Aluminium (Nylon film), 38% Wooly-nylon) (b) 2x2 stripping, same as (a) (c) 3x3 stripping, same as (a) (d) 1x1 stripping, float jacquard, with wool yarn (100% Lambs Wool) and pink metallic yarn (62% Aluminium (Nylon film), 38% Wooly-nylon) (e) 2x2 stripping, same as (d) (f) 3x3 stripping, same as (d)

4.2.1.2 Dyestuffs
Dyestuff used was Acid Dye as it was the correlated dyestuff for wool as mentioned in the previous chapter. The chemical reaction between wool molecules and acid dye molecules was simplified and shown as below:

H3N+CH3COOWoolCOOH(wool

in acid bath)

+ RSO3Na+(acid

dye)

R-SO3COOHWoolH3N+ + CH3COONa
61 CHAPTER 4

The details of the dye bath prepared were listed below and shown in Figure 4-2: 1. Dye: Acid dye in blue colour 2. pH: 5 3. Temperature: 100

Figure 4-2, Dye bath prepared

4.2.1.3 Chemicals for Chemical Etching

The etching bath was a hot solution of Sodium Carbonate (Na2CO3) prepared by dissolving Soda, Sodium Carbonate (Na2CO3) into water and then raising temperature to 100 . Sodium Carbonate (Na2CO3) can dissolve Aluminium (Al) in the metallic yarn selected. Soda, Sodium Carbonate (Na2CO3) was used because it is mild and has less destructive power to fabric, and it has effective corrosion of Aluminium at the same time. (Jiang, 2004)

62 CHAPTER 4

The details of the etching solution prepared were listed below and shown in Figure 4-3: 1. Chemical: Soda solution (Na2CO3) 2. pH: 11 3. Temperature: 100

Figure 4-3, Etching solution prepared

4.2.1.4 Equipment and Tools

Reused chess, flex thread, wooden stick, clips and beads etc. were used to create different shapes and coverage preventing from being etched and dyed. The equipment and tools used were shown in Figure 4-4.

63 CHAPTER 4

(a)

(b)

(c)

(d)

Figure 4-4, (a) Chess, (b) Flex thread, (c) wooden stick, (d) clips

4.2.2 Procedures
The developed knitted fabrics were treated with three main steps as shown in the following steps: 1. Fabric treated by applying Shibori techniques

2. Chemical etching

3. Dyeing

The experimental procedures of each step were listed as the following: 1. Fabric treated by applying Shibori techniques :

64 CHAPTER 4

1. Shibori techniques were applied on the developed knitted fabric. They were folded, crumpled, twisted and gathered as shown in Figure 4-5.

Figure 4-5, Fabric with Shibori techniques applied

2. Chemical etching : 1. The fabric prepared were immersed into the prepared etching solution for 1 to 10 minutes. 2. The etching solution and fabric were stirred in order to achieve better felting and etching effect.

65 CHAPTER 4

3. The treated fabric were then rinsed well in running water to remove residue chemicals before dyeing.

3. Dyeing : 1. The etched fabric were then dyed in the prepared acid dye bath. 2. The dyeing solution and fabric were stirred in order to achieve better felting and dyeing effect. 3. The dyed fabric was then rinsed in running water to remove unfixed dyestuff and other chemicals. 4. The equipment and tools were removed, and the rinsed fabric were finally dried.

4.2.3 Results
The obtained results were classified into three categories as below: 1. Samples of gradient dyed effect without Shibori techniques applied 2. Samples of two-dimensional effect with Shibori techniques applied 3. Samples of three-dimensional effect with Shibori techniques applied

66 CHAPTER 4

Original fabric, their middle stages and the resulted samples of each category were shown in the following respectively.

Category 1: Samples of gradient dyed effect without Shibori techniques applied as shown in Figure 4-6.

(i)Original fabric

(ii)Resulted fabric

(ai)

(aii)

(bi)

(bii)

(ci)

(cii)

Figure 4-6, Samples of Category 1

67 CHAPTER 4

Category 2: Samples of two-dimensional effect with Shibori techniques applied as shown in Figure 4-7.

(i)Original fabric

(ii)Middle stage

(iii)Resulted fabric

(di)

(dii)

(diii)

(ei)

(eii)

(eiii)

(fi)

(fii)

(fiii)

(gi)

(gii) (To be continued)

(giii)

68 CHAPTER 4

(hi)

(hii)

(hiii)

Figure 4-7, Samples of Category 2

Category

3:

Samples

of

three-dimensional

effect

with

Shibori

techniques applied as shown in Figure 4-8.

(i)Original fabric

(ii)Middle stage

(iii)Resulted fabric

(i-i)

(i-ii)

(i-iii)

(ji)

(jii)

(jiii)

(ki)

(kii)

(kiii)

Figure 4-8, Samples of Category 3 69 CHAPTER 4

Summary of all the results was shown in the following Figure 4-9.

(a)

(b)

(c)

(d)

(e) (To be continued)

(f)

70 CHAPTER 4

(g)

(h)

(i)

(j)

(k) Figure 4-9, (a), (b), (c): Samples of Category 1 (d), (e), (f), (g), (h): Samples of Category 2 (i), (j), (k): Samples of Category 3

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4.2.4 Conclusion and Analysis of the Results

The (i) etching effect and the (ii) three-dimensional effect of the trial fabric samples above were concluded and analyzed as below:

(i) Etching Effect The area tied, gathered and covered by applying different Shibori techniques were prevented from etching and felting while the other area exposed to the etching solution was undergoing chemical etching and felting. For the samples of category 1, all were undergoing gradient etching and then dyeing, which produced a combined effect of gradient shininess and gradient blue colour. For samples of category 2and 3, fabric were tied, clipped and gathered etc. where prevented etching and dyeing from taking place. The area without being etched and dyed showed the shininess of the metallic yarn and the original colour of the fabric. The most obvious etching effect can be found from sample (h) and (i). The white area of the two mentioned samples were shinier then the area being etched and dyed in blue.

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(ii) Three-dimensional Effect The three-dimensional effect was created by felting of wool. Among the samples of the three categories, samples of category 3 got the most obvious three-dimensional effect. For sample (i), the blue dyed area was undergoing felting, etching and dyeing; and the felted area was hardened, which created little permanent pleats. For sample (j) and (k), more obvious three-dimensional effect could be observed. This was achieved by firstly inserting chesses to the fabric and then tied, secondly allowing felting to take place. The fabric area inserted with chesses was under tension which didnt allow the wool of that area to undergo felting, while the fabric area without inserting chesses was allowed to undergo felting. As a result, the shape of sample (j) and (k) was permanent set and the three-dimensional effect was created.

According to the results of the trial samples, sample (h), (i) got the best effect of chemical etching on metallic yarn, while fabric (i), (j) and (k) got the best effect of three-dimensional effect. As a result, sample (h), (i), (j) and (k) were selected to be further developed in Experiment 2. 73 CHAPTER 4

4.3 Experiment 2
Objective of Experiment 2 was to produce samples based on the trial fabric samples produced from Experiment 1, for further design development in chapter 5. The principle of combining Shibori felting and chemical etching was the same as that of Experiment 1. Materials used and experimental procedures were similar to Experiment 1. And the results were concluded and analyzed.

4.3.1 Materials 4.3.1.1 Developed Knitted Fabric

The developed knitted fabrics used were the same as that of Experiment 1.

4.3.1.2 Dyestuffs
The dyestuff used and its condition were the same as that of Experiment 1 except that a red acid dye bath was added in order to create more colour combination as shown in Figure 4-10.

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(a)

(b)

Figure 4-10, (a) Blue dye bath and (b) Red dye bath prepared

4.3.1.3 Chemicals for Chemical Etching

The chemicals and conditions of the etching solution were the same as that of Experiment 1.

4.3.1.4 Equipment and Tools

The equipment and tools used were slightly different from Experiment 1, in which beads, needle-and-threads and coarse threads were used as shown in Figure 4-11. According to trial fabric sample (j) and (k), method of inserting subjects into the fabric could create a better effect of three-dimensional effect. Therefore, beads were inserted into the fabric in order to obtain a better three-dimensional effect.

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(a)

(b)

(c)

(d)

(e)

(f)

Figure 4-11, (a), (b), (c), (d), (e): Beads with different shapes (f): Needle-and-threads, coarse thread

4.3.2 Procedures
The procedures were the same as that of Experiment 1.

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4.3.3 Results
Original fabric, their middle stages and the resulted samples were shown in the following Figure 4-12 respectively.
(i)Original fabric (ii)Middle stage (iii)Resulted fabric

(ai)

(aii)

(aiii)

(bi)

(bii)

(biii)

(ci)

(cii)

(ciii)

(di)

(dii) (To be continued)

(diii)

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(ei)

(eii)

(eiii)

(fi)

(fii)

(fiii)

(gi)

(gii)

(giii)

Figure 4-12, (ai),(bi): Fabric (a) mentioned in 4.2.1.1 (ci): Fabric (c) mentioned in 4.2.1.1 (di), (gi): Technical back of Fabric (a) mentioned in 4.2.1.1 (ei), (fi): Fabric (d) mentioned in 4.2.1.1 (aii) to (gii): Middle stages of samples (aiii) to (giii): Resulted samples

Summary of all the results was shown in the following Figure 4-13 in the next page.

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(a)

(b)

(c)

(d)

(e)

(f)

(g) Figure 4-13, Resulted samples of Experiment 2 79 CHAPTER 4

4.3.4 Conclusion and Analysis of the Results

The (i) etching effect and the (ii) three-dimensional effect of the samples above were concluded and analyzed as below:

(i) Etching Effect Sample (e) and (f) had the most obvious etching effect. The metallic colour of the fabric was almost removed leaving a subtle metallic look of the fabric. Sample (a), (b), (c), (d) and (g) had less obvious etching effect as black metallic yarn used in which the black colour of the nylon film made the etching effect less obvious.

(ii) Three-dimensional Effect The three-dimensional effect obtained from all the samples produced was as good as expected. This was due to the method of insertion of objects into the fabric was effective. Besides, after felting, the shape was permanent set which allowed three-dimensional effect to be created. The three dimensional effect of sample (a) to (f) were created by insertion of bead while that of sample (g) was created by pleating.

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4.4 Summary of the Results

Selected trial samples produced from Experiment 1 were further developed in Experiment 2, in order to obtain a more desirable effect of chemical etching on metal and three-dimensional effect achieved by felting of wool. The etching effect achieved was contributed by the suitable selection of yarn content which was metallic yarn in which was capable for chemical etching. On the other hand, the desirable three-dimensional effect achieved was contributed by both the suitable selection of yarn content which was wool in which was capable for felting; and also the suitable selection of fabric structure which was knitted jacquard fabric in which allowed to be under more tension because of the high elasticity of knitted structure.

The results obtained showed the possibility and the desirability of applying techniques of chemical etching and Shibori felting on knits. Under the two experiments, a collection of samples were produced for further design purpose and application as the following chapter.

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CHAPTER 5 CREATION OF DESIGNS ON KNITS BY SHIBORI

5.1 Introduction
The purpose of this chapter was to explore the creation of designs using samples produced by applying combined techniques of Shibori felting and chemical etching on knitted fabric. Through the

integration of design concept and inspiration, the samples produced in Experiment 2 were further developed into a collection of fashion accessories. The designs were progressed from initial ideas to outcome of the collection.

5.2 Design Concept

The design concept behind was to make use of the stripping effect of the knitted jacquard fabric, the combined techniques of felting of wool and chemical etching of metal on knitted fabric and the colour effect obtained from Shibori dyeing, to create a collection of fashion accessories. The reason for choosing accessories design was the

82 CHAPTER 5

relatively small size of the samples produced, which were suitable for making accessories.

In this proposed project, the creation of designs was achieved by three elements: (i) material, (ii) technology and (iii) design as shown below: (i) Material: Knitted fabric made of wool and metallic yarn (ii) Technology: Felting and Chemical etching (iii) Design: From inspiration to final accessory products

5.3 Design Inspiration

The design inspiration for this collection was from an artist Jen Stark. Jen Stark is a contemporary artist born in 1983 in Miami, Florida, who is famous of creating paper sculptures. Apart from paper sculpture creation, she works on animation and drawing too. Her inspirations are mainly from microscopic patterns discovered from wormholes, nature, and anatomy. She studied at the Maryland Institute College of Art, and graduated from Magna Cum Laude with a BFA majoring in Fibers with a minor in Animation. Her works were exhibited in various galleries 83 CHAPTER 5

around the U.S., such as the Museum of Contemporary Art, the Museum of Art Fort Lauderdale, the Girls' Club Collection in Miami. In 2008, she became a recipient of the prestigious South Florida Cultural Consortium's Visual and Media Artists Fellowship.

Starks design concepts are from infinity and replication, intelligent designs and echoing patterns found in nature and surrounding. Jen Stark's oeuvre of methodologically and optically stimulating

sculptures and drawings has enjoyed a mood of renaissance since expanding her medium from paper to include wood and even mirrors. Her signature creations combine a variety of materials which act as catalyst for further established spiritual proclivity as expressed through repeated and hypotonic configurations. Some of her creations were shown in Figure 5-1 and Figure 5-2.

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Figure 5-1, Event Deck at L.A. Live, 1005 West Chick Hearn Court, Downtown Los Angeles, California, (Jen Stark, 2011)

(a)

(b) 85

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(To be continued)

(c)

(d)

(e) Figure 5-2, (a) to (e): Works for HI-FRUCTOSE v.2, (Jen stark, 2011)

From her work, a conclusion of her style can be traced. Her designs are a kind of optical illusion. An optical illusion is characterized by visually perceived images that differ from objective reality. (Wikipedia) There are mainly three types of optical illusion: literal optical illusions that create images which are different from the original objects generating that images; physiological illusions that 86 CHAPTER 5

are created from the effects on the eyes and brain generated by excessive stimulation from colour, brightness, size, position, movement, tilt etc.; and cognitive illusions, the result of

unconscious inferences. Jen Stark creates optical illusion by layers and lines which provided inspiration for the following collection of accessories.

5.4 Design Collection

After developing the design concept and inspiration, the samples produced from Experiment 2 were used to create a collection of accessories. The stripping effect of the knitted fabric, the gradient shiny surface of the metallic yarn after chemical etching, the felting effect of the wool yarn which created a three-dimensional effect and the colours applied had contributed a lot on the creation of optical illusion effect inspired by Jen Stark. The followings were a collection of seven accessory items.

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(a) Detail of fabric design

(b) Application of fabric design

Figure 5-3, AD-01 Necklace 88 CHAPTER 5

(a) Detail of fabric design

(b) Application of fabric design

Figure 5-4, AD-02 Necklace 89 CHAPTER 5

(a) Detail of fabric design

(b) Application of fabric design

Figure 5-5, AD-03 Bracelet 90 CHAPTER 5

(a) Detail of fabric design

(b) Application of fabric design

Figure 5-6, AD-04 Bracelet

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(a) Detail of fabric design

(b) Application of fabric design

Figure 5-7, AD-05 Bracelet

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(a) Detail of fabric design

(b) Application of fabric design

Figure 5-8, AD-06 Bracelet

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(a) Detail of fabric design

(b) Application of fabric design

Figure 5-9, AD-07 Necklace 94 CHAPTER 5

5.5 Summary
This collection of accessories was created from three elements: materials, techniques and design. Materials with techniques applied were prepared in Experiment 2 as mentioned in chapter 4. Then, the samples produced were further developed into a collection of

accessories according to the design concept and inspiration.

Being inspired by the artwork from Jen stark, this collection was to express the optical illusion effect making use of the stripping pattern of the fabric, the shiny surface and colours achieved by etching of metal and dyeing, and the three-dimensional effect achieved by felting of wool.

AD-01 to AD-06 showed different colours of gradient purple achieved by dyeing with blue and red dye. The shininess was contributed by the metallic yarn. The three-dimensional effect was achieved by inserting different sizes of beads and allowed to undergo felting in the etching bath. For AD-07, the three-dimensional effect was achieved by tying the fabric in different intervals and allowed to undergo felting in 95 CHAPTER 5

the etching bath, and the outcome was waved edges. For AD-05 and AD-06, the etching effect was the most obvious, in which showed a pink, subtle, shiny surface of the fabric after etching.

For

AD-01

to

AD-07,

the

shiny

stripes

together

with

the

three-dimensional effect achieved, and the gradient colour of purple gave an optical illusion effect similar to the design concept and inspiration mentioned.

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CHAPTER 6 CONCLUSIONS and RECOMMENDATIONS

6.1 Conclusions
This project is aimed at exploring the potential of application of different Shibori techniques on knitted fabrics by a combination of Shibori techniques, chemical etching on metallic textile and felting on wool, hence, introduces a new dimension of knitted fabric design. In order to achieve the ultimate goal of the proposed project, the present study had completed five major tasks, i.e. (1) to introduce an innovative design concept for textile design on knitted fabric by combing certain Shibori techniques; (2) to design knitted fabrics with the concern of fabric contents, structures, colours and treatment technology; (3) to establish textile design models of knitted fabric designs by Shibori techniques, and to select appropriate physical and chemical treatment methods; (4) to evaluate the aesthetics of the Shibori applied knitted fabrics by analytical techniques; (5) to add a new value on knitted fabric and to apply the designs on fashion area.

97 CHAPTER 6

Based on the five achievements mentioned, the following points were emerged as a conclusion for the whole project.

1. Shibori is a shaped-resist dyeing technique from Japan, can be used to create fabric patterns with three-dimensional effect instead of only two-dimensional patterns. Instead of woven fabric that was usually used in Shibori, knitted fabric was used in turn in the proposed project. An innovative design concept was developed by combining Shibori techniques, chemical etching and Shibori felting; and was applied on knitted fabric design successfully. The outcome was as expected to explore a new dimension of textile design on knits.

2. Fabric contents, structures, colours and treatment technology contributed a lot on the design of knitted fabric. Metallic yarns and wool yarns were the selected contents as metals and wool were capable for chemical etching and felting respectively. Besides, Jacquard fabric (stripping), colour of gradient purple together with etching effect created from chemical etching of Aluminium and 98 CHAPTER 6

three-dimensional effect created from felting, contributed a lot on the design of knitted fabric.

3. Two experiments were carried out to establish textile design models of knitted fabric designs by applying combined techniques of chemical etching on metal and felting on wool. By firstly folded, crumpled, twisted and gathered etc by different equipment and tool; and then treated in etching bath and dyeing bath, two sets of fabric samples were produced for further development.

4. The etching effect and the three-dimensional effect of fabric samples produced were analyzed by analytical techniques. According to the analysis of the fabric samples from Experiment 1, fabric samples were selected for further development in Experiment 2. The fabric samples obtained from Experiment 2 were further developed into a collection of accessories based on the design concept and inspiration.

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5. By applying combined techniques of chemical etching and Shibori felting, Shibori techniques, a new value was added on knitted fabric design. The knitted fabrics produced were further applied on accessory design. Therefore, a new dimension of knitted fabric design was introduced and investigated, in which was the ultimate objective of the proposed project.

6.2 Recommendations
The proposed project had provide an innovative way on knitted fabric design by applying traditional Shibori techniques with chemical etching on metal and felting on wool, in which the etching effect of metal and the three-dimensional effect of wool were proposed to be achieved. As applying Shibori techniques on knitted fabric design is still not popular and under-investigated, these recommendations suggest some useful ideas which will promote further development of Shibori techniques on knitted fabric.

1. In order to achieve better etching effect of metal, dark colour metallic yarns should be avoided. This was because dark colour of 100 CHAPTER 6

the film will make the etching effect of metal less obvious than that of light colour metallic yarn.

2. On the other hand, in order to obtain a better three-dimensional effect, the fabric density of the knitted fabric for felting can be lower, so that the contrast between felted and without felted can be more obvious.

3. The developed collection proved the possibility and desirability of applying Shibori techniques of chemical etching of metal and felting of wool on knits. The recommendations are for future consideration of further development of knitted fabric design with Shibori techniques of chemical etching of metal and felting of wool.

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REFERENCES

Au,

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(2011).

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Jiang, S. Q., Yuen, C. W. M., & Kan, C. W., (2007). Creation of Design on Nylon Metallic Fabric. Journal of Textile Institute, 98(3), 269-274. Jiang, S. Q. (2009). Fabric : Metallic Textile Design of Kinor Jiang. Hong Kong: Sandou Publishing. Kaneo, M. (1993). Kyoto Shoin's Art Library of Japanese Textiles. Kyoto City: Kyoto College, 3-12. Mller, E., (1999). Shibori : The Art of Fabric Tying, Folding, Pleating and Dyeing. Kent : Search Press, 12-23. Saville, B. P., (1999). Physical Testing of Textiles. Cambridge, England : Woodhead Publishing, 168-183. Smith, A. C., (2008). Shibori Knitted Felt. Loveland, Colo.: Interweave Press, 34-46. Shenai V.A., (1987). Chemistry of Dyes and Principles of Dyeing. Sevak Publications. Spenser, D. J., (2001). Knitting Technology : a Comprehensive Handbook and Practical Guide. England ; Pennsylvania : Technomic Publishing. Wada, Y. I., Rice, M.K., & Barton, J. (1999). Shibori : The Inventive Art of Japanese Shaped Resist Dyeing : Tradition, Techniques, Innovation. Tokyo ; New York : Kodansha International, 53-139, 275-288. Wada, Y. I. (2002). Memory on Cloth : Shibori Now. Tokyo: Kodansha International Ltd., 8-13, 145-195. Wada, Y. I., (2012). Journal of Textile Asia. Volume 3, Issue 3 Wilde, G., (2008). Shibori Knits: The Art of Exquisite Felted Knits. Crown Publishing Group, 45-56.

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Yip, J., Jiang, S. Q. & Wong, C., (2009). Characterization of Metallic Textiles Deposited by Magnetron Sputtering and Traditional Metallic Treatments. Journal of Elsevier, 380-385 Yue, K. H. (1991). Knitting Handbook 1: Basic single knit structures. Hong Kong: The Hong Kong Polytechnic Institute of Textiles and Fabricing. Fibrearts Magazine, (2004). Shibori on Knits: A Single-Minded Exploration. Retrieved from http://www.fiberarts.com/article_archive/profiles/mieiwatsubo.asp Murase, H., (2011). Suzusan. Retrieved from http://www.suzusan-shibori.com/ World Shibori Network, (2011). Traditional Japanese Techniques. Retrieved from http://shiboriorg.wordpress.com/ http://dailyfashionandstyle.com http://en.wikipedia.org/wiki/Chemical_etching http://jenstark.com/news/ http://www.stoll.com/ http://sampling-sampling.blogspot.com/ http://shiborigirl.wordpress.com/.../

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