Shibori

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.

_ (Signed)

__________________FUNG SIN TUNG (Name of student)

i

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

ii

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.

iii

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)

13

Figure 2-2 (a) Fabric with Miura applied, (Kozo

Takeda, 2011)

(b) Kimono with Miura applied, (Kozo

Takeda, 2011)

14

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

2011)

15

Figure 2-4 Kimono with Nui applied as the background,

(Kozo Takeda, 2011)

16

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

2011)

17

Figure 2-6 (a) Hand painting Arashi Shibori poles

(b) Its outcome,

shiborigirl.wordpress.com, 2006

18

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

2011)

19

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

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

2011)

21

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.

21

Figure 2-11 Blumarine, Spring/Summer 2010

Ready-To-Wear Collection

23

iv

Figure 2-12 Proenza Schouler, Spring/Summer 2010


23

Figure 2-13 Ports 1961, Spring/Summer 2010


24

Figure 2-14 Lamp, (Murase, 2011) 25

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

1999)

26

Figure 2-16 Felted wool circles of fabric stitched and

dyed (Iwatsubo, 2001)

28

Figure 2-17 Jeung-Hwa Park: (a) Panel 1 and (b) Panel

2 (Machine Knit, Tie, Felt, Dye), Hong Kong

8th International Shibori Symposium

29

Figure 2-18 Metallic core yarn from Winning Textile 31

Figure 2-19 Blended metallic yarn by twisting from

Winning Textile

31

Figure 2-20 Schematic representation of the laminating

process for metallic tapes / yarns, (Jiang,

2005)

32

Figure 2-21 Etched in ferric chloride for PCB

production at home, Wikipedia

33

Figure 2-22 Metallic fabric with chemical etching and

dyeing applied, (FUNG, 2010)

34

Figure 2-23 Poster of The Art of Fashion: Experimental

Textiles (Jiang, 2010)

35

Figure 2-24 A diagram of a loop, (Yue, 1991) 36

Figure 2-25 The technical front and back of a single

knitted fabric, (Yue, 1991)

37

Figure 2-26 The technical front and back of a tuck loop,

(Yue, 1991)

38

Figure 2-27 The technical front and back of a miss loop,

(Yue, 1991)

38

Figure 2-28 Electronic flat, (Au, 2011) 39

Figure 2-29 V-bed knitting machine, (Au, 2011) 40

Figure 3-1

100% Lambs Wool

49

Figure 3-2 (a) Black metallic yarn

(b) Pink metallic yarn(62% Metallic (Nylon

film), 38% Wool-nylon)

52

v

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 STOLL CMS 822 54

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


38% Wooly-nylon)

(e) 2x2 stripping, same as (d)

(f) 3x3 stripping, same as (d)

55-56

Figure 4-1

(a) 1x1 stripping, float jacquard, with

wool yarn (100% Lambs Wool) and black


38% Wooly-nylon)



(d) 1x1 stripping, float jacquard, with

wool yarn (100% Lambs Wool) and pink


38% Wooly-nylon)



60-61

Figure 4-2 Dye bath prepared 62

Figure 4-3 Etching solution prepared 63

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

stick, (d) clips

64

Figure 4-5 Fabric with Shibori techniques applied 65

Figure 4-6 Samples of Category 1 67

Figure 4-7 Samples of Category 2 68-69

Figure 4-8 Samples of Category 3 69

vi

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 (a) Blue dye bath and

(b) Red dye bath prepared

75

Figure 4-11 (a), (b), (c), (d), (e): Beads with

different shapes

(f): Needle-and-threads, coarse thread

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 Resulted samples of Experiment 2 79

Figure 5-1

Event Deck at L.A. Live, 1005 West Chick

Hearn Court, Downtown Los Angeles,

California, (Jen Stark, 2011)

85

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

stark, 2011)

85-86

Figure 5-3 AD-01 Necklace 88


Figure 5-5 AD-03 Bracelet 90





vii

CONTENTS

Pages

ACKNOWLEDGEMENTS

CERTIFICATE OF ORINGINALITY

ABSTRACT i

LIST OF FIGURES iii

CHAPTER 1 INTRODUCTION 1

1.1 Background of Study 1

1.2 Objectives 4

1.3 Scope of Study 5

1.4 Methodology 6

1.5 Significance and Contribution 8

CHAPTER 2 LITERATURE REVIEW 10

2.1 Shibori 10

2.1.1 Introduction to Shibori 10

2.1.2 Shibori Techniques 12

2.1.3 Shibori Applied on Fashion 20

2.1.4 Shibori Applied Apart from Fashion 24

2.2 Shibori Felting 25

2.2.1 Wool Fibre 25

2.2.2 Felting Shrinkage of Wool 26

2.2.3 Shibori Felting Applied on Fashion 27

viii

2.3 Chemical Etching on Metallic Fabric 29

2.3.1 Metallic Textile 29

2.3.2 Production of Metallic Yarn 30

2.3.3 Chemical Etching Process 32

2.3.4 Chemical Etching of Metallic Fabric Applied on

Fashion 34

2.4 Knitting Technology 35

2.4.1 Introduction to Knitting 35

2.4.2 Principle of Weft Knitting 36

2.4.3 Knitting Machines 39

2.4.4 Physical Properties of Knitted Fabric 40

2.5 Dyeing Technology 41

2.5.1 Principle of Dyeing 41

2.5.2 Classification of Dyestuffs 42

2.5.3 Dyeing Process 44

2.6 Summary 46

CHAPTER 3 DEVELOPMENT OF DESIGNS ON KNITS BY SHIBORI 48

3.1 Introduction 48

3.2 Development of Knitted fabric 48

3.2.1 Materials 49

3.2.1.1 Wool Yarn and the Correlated Dyestuffs 49

3.2.1.2 Metallic Yarn 51

3.2.1.3 Their Blends 52

3.2.2 Knitting Machine 53

3.2.3 Knitting Structures: Float Jacquards 54

3.3 Combining Shibori Felting and Chemical Etching

Techniques 56

3.3.1 Principle 57

ix

CHAPTER 4 EXPERIMENTS OF COMBINING SHIBORI FELTING AND

CHEMICAL ETCHING TECHNIQUES 59

4.1 Introduction 59

4.2 Experiment 1 59

4.2.1 Materials 60

4.2.1.1 Developed Knitted Fabric 60

4.2.1.2 Dyestuffs 61

4.2.1.3 Chemicals for Chemical Etching 62

4.2.1.4 Equipment and Tools 63

4.2.2 Procedures 64

4.2.3 Results 66

4.2.4 Conclusion and Analysis of the Results 72

4.3 Experiment 2 74

4.3.1 Materials 74

4.3.1.1 Developed Knitted Fabric 74

4.3.1.2 Dyestuffs 74

4.3.1.3 Chemicals for Chemical Etching 75

4.3.1.4 Equipment and Tools 75

4.3.2 Procedures 76

4.3.3 Results 77

4.3.4 Conclusion and Analysis of the Results 80

4.4 Summary of the Results 81

CHAPTER 5 CREATION OF DESIGNS ON KNITS BY SHIBORI 82

5.1 Introduction 82

5.2 Design Concept 82

5.3 Design Inspiration 83

5.4 Design Collection 87

5.5 Summary 95

x

CHAPTER 6 CONCLUSIONS and RECOMMENDATIONS 97

6.1 Conclusions 97

6.2 Recommendations 100

REFERENCES 102

1

CHAPTER 1

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,

2

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

3

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

4

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;

5

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.

6

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 fabric’s 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

7

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

8

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

9

CHAPTER 1

as a new and completed method to create innovative knitted fabric

design.

10

CHAPTER 2

CHAPTER 2

LITERATURE REVIEW

2.1 Shibori

2.1.1 Introduction to Shibori

Shibori (絞り染め) 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

11

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 Shōmu to the Tōdai-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

12

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.

13

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) (b)

Figure 2-1, (a) Fabric with Hitta Kanoko applied, (World Shibori

Network)

(b) Kimono with Kanoko applied as the background,

(Kozo Takeda, 2011)

14

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

doesn’t 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) (b)

Figure 2-2, (a) Fabric with Miura applied, (Kozo Takeda, 2011)

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

15

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

16

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

17

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)

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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) (b)

Figure 2-6, (a) Hand painting Arashi Shibori poles

(b) Its outcome, shiborigirl.wordpress.com, 2006

19

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)

20

CHAPTER 2

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.

21

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.

22

CHAPTER 2

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 Blumarine’s 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

Schouler’s 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 1961’s Spring/Summer 2010 Ready-To-Wear collection as shown

in Figure 2-13, the use of shimmery fabrics and monotones used grants

23

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

24

CHAPTER 2

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 Murase‘s design concepts, Murase made use of three-dimensional

patterns, exciting contrasts or soft, and the transitions of colours

25

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,

26

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

27

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

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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

29

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

30

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.

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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.

32

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.

33

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.

34

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

35

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,

36

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

37

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,

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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.

39

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.

40

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,

41

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

42

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.

43

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.

44

CHAPTER 2

Types of

Fibres

Cellulosic

Fibres

Proteinous

Fibres

Polyamide

Polyester

& Acetate

Acrylic

Classes

of Dyes

Azoic

Direct

Reactive

Sulphur

Vat

Acid

Chrome

Metal-complex

Reactive

Acid

Chrome

Disperse

Metal-complex

Azoic

Disperse

Basic

Disperse

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

45

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 Glauber’s 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

46

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

47

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.

48

CHAPTER 3

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.

49

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 H2N–Wool–COOH where

50

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+–Wool–COO

–.

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 (–Wool–H3N+) as shown in the

following:

H3N+–Wool–COO

– + H

+CH3COO

–(acid) ↔ H3N

+CH3COO

––Wool–COOH

3. The formed cation of wool (COOH–Wool–H3N+) from the previous stage

is then attracted with the dye anion (R–SO3–) through electrostatic

force forming ionic bond.

H3N+CH3COO

––Wool–COOH + R–SO3

–Na

+(acid dye) →

R-SO3–COOH–Wool–H3N

+ + CH3COONa (Chakraborty, 2010)

51

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.

52

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

53

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

54

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

55

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) (c)

(To be continued)

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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)



(d) 1x1 stripping, float jacquard, with wool yarn (100%

Lambs Wool) and pink metallic yarn (62% Aluminium




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

57

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)

58

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.

59

CHAPTER 4

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

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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) (c)

(To be continued)

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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




(d) 1x1 stripping, float jacquard, with wool yarn (100%

Lambs Wool) and pink metallic yarn (62% Aluminium




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+CH3COO

––Wool–COOH(wool in acid bath) + R–SO3

–Na

+(acid dye) →

R-SO3–COOH–Wool–H3N

+ + CH3COONa

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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)

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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.

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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 :

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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.

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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

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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

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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) (giii)

(To be continued)

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CHAPTER 4

(hi) (hii) (hiii)


Category 3: Samples of three-dimensional effect with Shibori

techniques applied as shown in Figure 4-8.


(i-i) (i-ii) (i-iii)

(ji) (jii) (jiii)

(ki) (kii) (kiii)


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CHAPTER 4

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

(a) (b)

(c) (d)

(e) (f)

(To be continued)

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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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CHAPTER 4

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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CHAPTER 4

(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 didn’t 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.

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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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CHAPTER 4

(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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CHAPTER 4

(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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CHAPTER 4

4.3.3 Results

Original fabric, their middle stages and the resulted samples were

shown in the following Figure 4-12 respectively.


(ai) (aii) (aiii)

(bi) (bii) (biii)

(ci) (cii) (ciii)

(di) (dii) (diii)

(To be continued)

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CHAPTER 4

(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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CHAPTER 4

(a) (b)

(c) (d)

(e) (f)

(g)

Figure 4-13, Resulted samples of Experiment 2

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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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CHAPTER 4

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

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

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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

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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.

Stark’s 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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CHAPTER 5

Figure 5-1, Event Deck at L.A. Live,

1005 West Chick Hearn Court,

Downtown Los Angeles, California, (Jen Stark, 2011)

(a) (b)

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CHAPTER 5

(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

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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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CHAPTER 5

(a) Detail of fabric design

(b) Application of fabric design

Figure 5-3, AD-01 Necklace

89

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90

CHAPTER 5



Figure 5-5, AD-03 Bracelet

91

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92

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93

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94

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95

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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

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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

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.

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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

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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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CHAPTER 6

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

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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.

102

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