Home clothes construction in the context of sustainable fashion: design strategies for promoting the development and application of basic sewing skill

建议的实践为基础的研究将检查的手段，业余爱好者获得缝纫技能。它将测试一系列设计主张，以改进现有的工具和资源，重点是开发可转移的技能和知识，以实现更可持续的时尚未来。该项目将调查业余制作者可用的历史和当代工具和资源（包括纸质图案，“如何”指南，工具包和在线教程），以开发资源的类型学。参与性讲习班和参与性日记将用于获得用户对这些资源的体验以及缝纫技能的获取和应用方面的反馈。将生成一系列替代工具包/资源的命题设计，与参与者一起测试并根据用户反馈进行调整。预计将在“时尚革命”的支持下招募参与者。这项研究建立在对缝纫，工艺技能和服装制作的终身兴趣之上。作为一名设计师和制作者，我敏锐地意识到随着时间的推移，工艺知识如何影响了我与服装的关系。正是拥有了这些技能，我才能以延长衣服（新的、自制的或二手的）的方式来处理衣服，并延长它们的使用寿命，以及相关的实用和情感持久性和价值（Chapman, 2015; Townsend & Sadkowska, 2018）。因此，我认为缝纫技能是有价值的当代知识，是可持续时尚行动主义的一种形式，而不是人们通常认为的怀旧的前女权主义追求（Bain, 2016）。业余制作有可能重新连接在“快时尚”混战中基本上失去的工艺，制作和使用的想法。我的硕士研究重点是纺织品印花设计中的手工和数字工艺。我对自己的工艺实践进行了仔细的调查，使我对工艺技能的体现性质有了知情的实践和理论理解，这为我的硕士论文和随后在2017年国际学术会议上发表的同行评议论文提供了信息。毕业后，我将自己的缝纫知识和印花纺织品设计技能结合起来，为初学者设计了一系列平装裁剪和缝制套件。这些套件的设计和测试为第二篇同行评议论文（上文讨论）提供了信息，该论文提供了对缝纫技能获取动态的见解，以及支持这一动态的替代工具的潜力。拟议的博士研究将能够对这些问题进行更基本的评估，并允许以推测和实验设计为主导的方法来应对这些问题。近几十年来，人们对家庭缝纫的兴趣重新抬头（Bain, 2016）。可持续时尚研究，关注穿着者的消费和使用行为（Fletcher, 2016; Twigger Holroyd, 2017），强调了业余缝纫技能对可持续时尚系统的重要性。然而，基本的缝纫技能不再在家庭或学校常规传授，这意味着他们的学习比以往任何时候都更依赖于远程学习和初学者可用的工具/资源。虽然新的线上和线下资源已经出现，以应对这种兴趣的增加，但它们在多大程度上容纳了较低水平的缝纫知识和/或新的潜在受众，这是值得怀疑的。本研究的主要目的是了解：缝制服装的家庭建设的基本技能是什么？是什么帮助初学者获得这些技能？这些技能的发展和应用对下水道和他们的衣服的关系有什么更普遍的影响？研究将借鉴文献论述：工艺技能和隐性知识（Palanyi, 1966; Pye, 1968; Sennett, 2009; Wood, 2006）；支持学习/技能获取的脚手架（Wass & Golding, 2014）；工艺消费（Campbell, 2005; Watson & push, 2008）；和‘pro- assumption ’(结，

The proposed practice-based research will examine the means by which amateurs acquire sewing skills. It will test a series of design propositions to improve on the tools and resources already available, with an emphasis on the development of transferable skills and know-how toward more sustainable fashion futures. The project will investigate the historical and contemporary tools and resources available to amateur makers (including paper patterns, 'how to' guides, kits and online tutorials) to develop a typology of resources. Participatory workshops and reflective participant diaries will be used to gain feedback on user experience of these resources and the acquisition and application of sewing skills. A series of propositional designs for alternative kits/resources will be generated, tested with participants and adapted based on user feedback. It is anticipated that participants will be recruited with the support of Fashion Revolution.This study builds on a lifelong interest in sewing, craft skill and the making of clothes. As a designer and maker I am acutely aware of how craft knowledge has informed my relationship with clothing over time. It is possession of these skills that enables me to engage with clothes (new, homemade or second-hand) in ways that extend their longevity and associated practical and emotional durability and value (Chapman, 2015; Townsend & Sadkowska, 2018). Consequently, I see sewing skills as valuable contemporary know-how and a form of sustainable fashion activism rather than the nostalgic pre-feminist pursuit it is often presumed to be (Bain, 2016). Amateur making has the potential to reconnect ideas of craft, making and use that have been substantially lost in the 'fast fashion' melee. My MA research focused on hand and digital processes in textile print design. Close investigation of my own craft practice led to an informed practical and theoretical understanding of the embodied nature of craft skill, which informed my MA dissertation and a subsequent peer-reviewed paper presented at the Making Futures 2017 international academic conference. Since graduation I have combined my sewing knowledge and printed-textile design skills to create a range of flat-pack cut-and-sew kits for beginners. The design and testing of these kits informed a second peer-reviewed paper (discussed above), which provided insight into the dynamics of sewing skill acquisition and potential for alternative tools to support this. The proposed PhD study would enable a much more fundamental evaluation of these issues and allow for a speculative and experimental design-led approach in responding to them.Recent decades have seen a resurgence of interest in home sewing (Bain, 2016). Sustainable fashion research, focusing on wearers' consumption and use behaviour (Fletcher, 2016; Twigger Holroyd, 2017), highlights the importance of amateur sewing skills for a sustainable fashion system. However, basic sewing skills are no longer routinely passed on at home or school, meaning their acquisition is more dependent than ever on remote learning and the tools/resources available to beginners. While new online and offline resources have emerged in response to this increased interest, the extent to which they accommodate lower general levels of sewing knowledge and/or new potential audiences is questionable. The primary aims of this research are to understand: What constitutes basic skills in the home construction of sewn clothing? What helps beginners to acquire these skills? And how does the development and application of these skills impact on the sewer's relationship with their clothes more generally?generally? The research will draw on literature addressing: craft skill and tacit knowledge (Palanyi, 1966; Pye, 1968; Sennett, 2009; Wood, 2006); the scaffolding that supports learning/skill acquisition (Wass & Golding, 2014); craft consumption (Campbell, 2005; Watson & Shove, 2008); and 'pro-sumption' (Knot,