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Value added: the case for textile design

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 Value added: the case for textile design
Sandra Heffernan
Textile Design, Massey University, Wellington 6140

Abstract
Textile design postgraduate students are making My interest in industry/education initiatives
an impact by providing contemporary material began in my doctoral research that included an
and product solutions to the NZ textile industry. evaluation of the impact of thread-makers, J&P
This is a recent development, as only a few years Coats, on textile design education. Coats
ago wool reports overlooked the potential role of achieved their influence through very clever,
design to improve the added value, attractiveness often veiled strategies (Heffernan, 2004).
and viability of wool products for export. As Today’s collaborations are of a different type
consumer demands evolve and change there is a and model. In contemporary education/industry
need to maintain and add value to products. collaborations opportunities to add value to
What happens when curiosity and creativity products are significant and offer mutually
across a broad spectrum meet tradition, beneficial outcomes. These only come through
equipment, craftsmanship and technology? industry, academia and government agencies
working together towards shared goals.
1. Introduction Responding to economic needs the
The growing middle class of consumers brings a Ministry of Business, Industry and Environment
change in expectations, and as demands evolve (MBIE) provides funded opportunities for
and change there is a need to maintain and add technology focused postgraduate projects to
value to products. This paper profiles the contribute to the development and
important role textile design postgraduate commercialisation of a new product, process or
students contribute as they connect and service. The policy perspective is to fund
collaborate with the manufacturing sector universities to link new thinking and new ideas
turning ideas into reality to help make better, although ‘design’ is not mentioned. The MBIE
more customized and advanced textiles. A new, funding application process requires design to be
New Zealand (NZ) model for textile couched within the technology framework. The
education/industry research collaborations has aim of the COCA’s textile/industry partnerships
emerged within the Massey University, College is to steer success across the textile value chain
of Creative Arts (COCA) Master of Design while balancing academic, economic, and
(MDES) programme. environmental requirements. In the application
As education reform is taking place in development process with industry stakeholders
most corners of the world, the time was right for discussion leads to the definition of key topics or
our postgraduate research to take a different needs. The amount of time an academic needs to
approach. Students work on a significant dedicate to the application process extends
problem faced by a company to rejuvenate across a period of three to six months, depending
business or to produce solutions for a particular on the resources and immediate commitment of
or a set of problems. The success stories are a industry partners. Together we determine where
significant new development in an industry that we can make the most impact and the application
previously undervalued the role of the textile frames ideas in a commercial sense. Several
designer. The students inject new vitality to factors coalesce in the application process,
NZ’s wool industry and commercial ventures. including careful selection of an appropriate
This paper looks at what happens when postgraduate fellow in terms of academic ability,
design curiosity and creativity across a broad personality and future desires. To date, a key
spectrum of projects meets tradition, equipment, focus in the projects has been the research and
craftsmanship and technology in industry. development (R&D) of topics associated with
wool, as a quality niche brand fibre. Wool is

  1  
potentially a high quality product making up 80 reports overlooked the potential role of design to
percent of the NZ natural fibre clip and wool improve the added value, attractiveness and
blends offer further R&D opportunities. viability of wool products for export (Faulkner,
Technological advances have not only allowed 2012; Sheldon, 2007). Tariff regulations
the development of new generations of fibres, introduced across several decades followed by
but also of manufacturing processes, which competition with China reduced profit margins
multiply the properties and lead to the for both farmers and manufacturers and narrow
diversification of application fields. or reduce the ability of companies to employ
Within the confines of confidentiality clauses designers. Yet there has been limited systematic
between Massey University and industry research and design of wool products and
partners, this paper promises to contribute to the currently wool fibre is failing to realize its true
debate by offering ways in which the students economic value. In many ways this is a
mentored by industry and academics, turn reflection of industry’s view of design, perhaps a
industry focused ideas into commercial reality. situation that has evolved from the technical and
Outlined is the impact of the use of traditional engineering apprenticeship system that has been
and new creative technology within a design instrumental in the NZ textile industry.
materials process and its transformative effect on Similarly, a lack of textile design
the business. One question that needs to be asked promotion by NZ design organisations
is whether a textile design exchange is of value contributes to poor recognition and typically in
to manufacturing? And another required government R&D funding programmes ‘fibre’
question is whether education/industry refers to food fibre rather than wool, angora,
partnerships are effective. What is the impact of alpaca, or smart fibre blends. The omni-present
these education/industry relationships? term agri-food overlooks the fibre/textile
The goals of the paper are to illustrate industry, largely influenced by the power of the
the shape of the collaborations and explain why dairy dollar. Textile design and its relevance to
design/industry partnerships are important. It the economy is ignored, perhaps because of
will consider how and why we intervene in the politics within the wool industry, outstanding
traditional manufacturing process and whether or issues with previous funding awards or from a
not government support for students and lack of positive promotion. Journalists in local
manufacturing ensure knowledge and skills newspapers make a call for change explaining
merge for a mutual benefit. ‘as consumer demands evolve and change there
The approach taken in this study is a qualitative is a need to maintain and add value to products’
methodology using a small sample study (O’Hara, 2014, p.1). Here in lies a contradiction
comparing and contrasting the design or inconsistency within the media as the value of
contribution of a cluster of postgraduate projects the textile industry is often overlooked. For
from 2011 - 2014. In the development of this example, in one of the highly regarded national
paper the relevant key issues include the status daily newspapers, the Otago Daily Times, Sally
and value of design both within and beyond the Rae (2014) in Agri-careers promoted reviews a
textile manufacturing industry, education, career event presented by academics and
innovation, creativity and specific situations banking advisors for school graduates. Rae
within NZ’s wool industry. Then a lens is placed emphasizes future career opportunities in law,
on the curriculum development of material science, and television but textile or wool fibre
focused teaching at COCA. Finally, comparisons related careers are not included. We need to find
are provided between specific MDES R&D a way to articulate the success and economic
projects for results and conclusions to be drawn. contribution of textile design.

2. Issues relating to the value of design 3. Creativity and Innovation

The first issue resonates round the recognition of Turning now to issues influencing education and
the value of design within the manufacturing industry including creativity, innovation and
industry and the factors that contribute to this education. Ken Robinson (2007) argues that
situation. From 2007-2012 NZ wool industry creativity and innovation alone are the key to the

  2  
future; claiming knowledge won’t suffice and (2007) author Sir George Cox argued
isn’t even necessary. He argues acquiring “innovation will dictate the economic prosperity
knowledge is therefore a waste of time. He of nations”. Additionally, the design council
defines creativity, ‘as the process of having chief executive for over a decade, David (2007)
original ideas that have value — more often than defined design as “what links creativity and
not comes about through the interaction of innovation,” and “creativity deployed to a
different disciplinary ways of seeing things’. In specific end.” He reflected on “the trend for
2013, a Creative Industries Symposium held at emerging economies—including China, India
COCA looks at how New Zealand can maximise and New Zealand—to embrace design and
the potential of its creative industries to drive creativity”. But in regards to NZ, only now is
sustainable growth and exports. One of the high government beginning to recognize the value of
profile contributors, Sven Baker, chief executive design.
of Designworks, provides an analysis, describing The value of design is widely recognized
New Zealand’s traditional primary industry within the debate with governments in a parallel
manufacturing operations as ‘vulnerable old manner with innovation. Kester (2007) also
economy businesses with latent opportunities’ COCA’s Adjunct Professor of Design published
(Baker, 2013). Reinforcing his position he a report in the UK Government Innovation
quotes Jack Welch, the Chairman of the New review, emphasizing the importance of design by
Zealand Climate Science Coalition, ‘When the encouraging the British government to ‘think of
rate of change inside is slower than outside the design not as a chapter but cut across all the
end is insight’. government’s innovation policies’. He defines
Across the other side of the globe, Lester the importance of design within innovation
Mills, Head of New Business Development, ‘design is a force that can drive innovation,
BASF Corporation, Switzerland, presented never an after thought or an embellishment’
positive social and environment perspectives for arguing that key dynamics for design are
innovative business development in a interaction, service and research methods but
Commonwealth Secretariat Global Fibre adds that these design disciplines hold more
meeting, in London (Mills, 2013). He urged promise than traditional industrial design. He
participants to consider both the process and confirms this claim by positioning China plc as
impact of the process of production to add value mastering industrial production. This argument
and take the initial concept beyond industry. does not necessarily transfer to economies and
Mills defined sustainable development as other industries in other locations. The textile
meaning ‘the combination of long term industry benefits from an injection of
orientated success with environmental protection contemporary design through which it could
and social responsibility.’ He identified the need significantly increase exports.
to use clearly defined processes, sustainability While it maybe true in the UK, a
innovation networks and a comprehensive different situation exists in NZ where plentiful
awareness of target markets. Underlining all this amounts of primary produce exist that require
is social responsibility and a questioning of how added value to release latent export earnings
much we should tamper with nature to meet end value. There are both similarities and differences
goals. with NZ’s situation. A traditional approach with
Innovation is widely recognized as a a new slant would simply add design to the
fundamental for change in both design education industry manufacturing process. The other case
and industry. Mills emphasizes the need for is for industrially produced textiles to offer a
innovation to be integrated in fibre value chain new design process perspective such as, design
development stating ‘Innovation is the key to combined with science or design with science
drive sustainability solutions, and partnerships and engineering along-with good economic and
are the way to steer success’ (Mills, 2013). target market analysis. Simon Mark (2014) in an
Earlier, in the UK, at a summit to showcase the effort to profile the importance of design writes
role of creativity and design in UK that design barely features in [NZ] government
competitiveness, the Design Council report science and innovation policy, despite

  3  
international evidence attesting to design’s role and I, worked with industrial design colleagues
and impact in innovation. Kester believes more to develop a material focused paper Materials
evidence is required ‘from a policy perspective Meaning and Making for our first year
to ensure funding to universities is linked to new curriculum. One aspect we addressed was the
thinking and new ideas’ Kester (2013). The recognition that some students required a
sequential development evident in the MDES different material development process to the
projects offers some evidence, as inter- typical traditional textile design process,
government institutions take design more whereby tactility, material manipulation in
seriously, offering support. response to material properties was required.
In Australia, government reactions Later, a material responsive design (MRD)
against the trend to manufacture offshore, in strand was developed throughout the textiles
particular in Asia have some momentum. The curriculum through a line of elective papers,
Victorian State government committed from 1st year to postgraduate projects. Now it is
AUS$7.5m to building an advanced a consolidated pathway throughout our
manufacturing sector, including AUS$40,000 to undergraduate degree and strongly informs the
the Design Institute of Australia (DIA) to postgraduate industry collaborations. Emily
promote advanced materials manufacturing in George and Sophie Rzepecky’s (see figure 1)
Australia (Hodgett, 2014). It recognises the role were some of the first students to complete the
of educators by including them in DIA Materian MRD strand in exemplary honour’s year
initiative that will bring together designers, projects.    
manufacturers, researchers and educators to
explore opportunities for new applications and
opportunities for advanced materials.

4. Key aspects relating to education today

Coupled with the economic need is the quest to
determine how to educate young people to take
their place in the economies of the 21st century.
Following a period of turbulent economic times
many countries at the moment are reforming
education (Robinson, 2007). An extended
process to adapt and update our curriculum in
textile design began in 2007. Textile experts Fig. 1: Sophie Rzpecky undergraduate
have been invited to contribute to the new ways design 2011.
we teach design. Joy Boutrop, a Danish textile
engineer was invited to textile design at Massey
University to advocate for new approaches in Turning now to a review of postgraduate
wool material development in a two week a projects prior to the support of government
Master class. Boutrop emphasized the important funding. Successful wool focused MDES
role of textiles in culture and the essential need projects embodied an identity of place. Kristy
of good textiles, which comply with new Johnstone’s (2011) research interpreted place,
environmental regulations (Boutrop 2007). provenance and sustainable coloration in
The overwhelming success of this initiative led Colours of the high country-exploring place
to another international invitation in 2008. Then, through colour (see figure 2). Kristy now plays a
Wilma Korenromp from the Design Academy key role undertaking the knit and non-woven
Eindhoven, led a two week Master class and was materials teaching in the undergraduate textile
a keynote speaker at the Material World degree at COCA.
symposium at COCA. The symposium materials
focus was a cornerstone in a confluence of
desires and ideas. A few weeks later, textile
faculty including Jessica Payne, Lisa Munnelly

  4  
 from Woolyarns Limited, Wellington. By
reusing and recycling industry waste Ellis’
designs provide an insight into the amount of
waste generated during the industrial
manufacturing processes. Ellis aims to use
design in its broadest sense, using design as a
promoter of social change to create objects of
desire and value through emotional and physical
durability (see figure 4). Ellis’ work challenged
typical designs that use high quality fibre as
Figure 2: Kristy Johnstone. opposed to her use of waste from the spinning
2012.Colours of the high country- process. Our attention is drawn to a clear point
exploring place through colour in of difference in her design-rich work, if Ellis
MDES exhibition, COCA. could produce high quality designs with added
value using waste fibre why do so many designs
And Amy Pyle’s (2011) The Woolshed: an produced for the market lack design for added
exploration of New Zealand Vernacular explored value?
and dissected the New Zealand woolshed as an
archetype, revealing the different components
which make up the woolshed and use it as a
source of inspiration that will be processed
through design (see figure 3). Pyle uses a
combination of old and new creative
technologies to produce a range of contemporary
textiles. Now based in Vancouver, Pyle is a
designer for a leading Canadian textile design
business.

Figure 4: Stacey Ellis. 2012. One of a

series of collections from Ellis’ MDES.
Wool waste fibre needle punched and
digitally embroidered.

In 2013, Ellis was selected to exhibit her

designs in the prestigious Talente exhibition in
Munich. Alongside this project Ellis undertook a
commission for the Wellington based
entrepreneurs, The Formary to design and make
Figure 3: Amy Pyle. 2012. A selection
a collection of woven textiles for presentation to
of images from The Woolshed: an
the Chinese Govt. Ellis is now employed as a
exploration of New Zealand Vernacular.
Design Centre Manager and Colour consultant
working with builders, architects and interior
5. Industry collaborations
designers for a Brisbane company.
A new direction began in 2012 within two
Since 2012, six MDES projects have
MDES projects. Stacey Ellis’ (2012) research
ranged from yarn development with
entitled Transforming waste articulates the
entrepreneurs to designs for a bedding product
concept of working with waste wool and possum
company. During a one year period the students
fibres sourced from local spinning industries and
receive a NZ$20,000 government funded
was supported with a scholarship and product

  5  
stipend, mentoring and experience in industry
and professional development, as well as regular
university supervision. We nominate students
with an inclination to innovation, creative minds
and appetite for ideas, committed and responsive
to the needs and interests of creating and
capturing value and who appear to be the ‘right
fit’ for each industry situation.
While working in industry the student
gains access to a range of traditional equipment,
different technology and technical R&D
experience and expertise. A close link with the
university results in the transfer of knowledge to
industry often requiring the development of new
software skills. The initial application process
includes the development of a systematic
progression of work, proceeding from hypothesis
to experiment, observation and evaluation,
practical and speculative design, and leads to
logical conclusions and outputs. Thinking
oscillates from concrete to abstract to concrete at
different stages in the process.
Typically, in the industry-centred design
(ICD) research methodology iterative and /or Figure 5-6: Rebekah Harman. 2012.
experimental and MRD processes are followed Images from Designing sustainable
with a strong emphasis on the role of colour: lowering the environmental
technology. We go to great lengths to try and impact during the wool dyeing process
make students feel comfortable enough to take research.
risks and the students are placed in a fast track
position to turn their vision into reality. The ICD Based in Christchurch, Harman undertook her
methodology encompasses aspects of research at Carpets and Rugs of NZ (CRONZ) a
desirability, feasibility, and viability identified family owned, bespoke tufted carpet business.
within the design challenge. Dedicated project CRONZ combine hand-tufting with a unique
leadership by the academics and industry mechatronic control system to ensure consistent
mentors ensures a common understanding of the quality and export 70-80% of their carpets.
goals to guide the application of research and Following the devastating Christchurch
knowledge transfer. earthquakes, the company was forced to move
Rebekah Harman’s (2012) research three times within the one- year period of study,
Designing sustainable colour: lowering the but flexibility on the part of both parties ensured
environmental impact during the wool dyeing the project was completed successfully. Harman
process (see figures 5-6) was the first now works for FibretechNZ in Christchurch.
collaborative textile industry project with
support from Ministry of Science and Innovation
grant. Harman’s project was situated within ICD
research informed by design practice within a
one year Masters researching the sustainability
of coloration processes.

  6  
 Figure 7: Rebekah Harman (2012) and John in distinctly different, yet functional ways. The
Wyma director of CRONZ viewing felted, plans to commercialize these designs are in
undyed woolen yarn. progress. Olatunji now works in a role as
Innovation manager R&D for NZMerino,
Michelle Macky’s (2013) project from Christchurch.
waste to textiles followed a model reflecting a
continuous process from science to design to
potential commercialisation. Macky’s project
progressed in parallel to a science fibre R&D
project for the same company. The scientists
were committed to finding new environmentally
friendly and energy efficient ways of processing
fibre to make materials to be used in daily lives.
Macky used MRD methodology to develop some
naturally plentiful agricultural bi-product waste
fibre. An experiment-led iterative process
allowed the reinterpretation of the traditional
textile processes of weave and creative
technology provided opportunities for the
development of new material directions. Macky
actively engages in issues of sustainability and
social responsibility. Her concept fabrics are
technical textiles with performance, aesthetic
and function in mind. Four advanced structures
were selected to highlight the key attributes of
the fibre including biodegradability, flame
retardant properties, thermal and acoustic
insulation. Selected designs were presented to
overseas clients for commercialization.
Figure 8-10: Kelly Olatunji, (2013)
Macky’s project differed from the others as she
Capturing loft quilted designs.
spent much less than the recommended (50
percent) of the recommended time within
In 2014 three industry MDES projects
industry to receive industry mentorship. More
with very different challenges from innovative
input was required from the academic
yarn spinning to the revitalization of a weaving
supervisors, Dr Jessica Payne and myself.
mill to finding design solutions to reduce the
Macky now works as Design Coordinator at
cost of waste fibre production are underway. I
Inter-Weave, Auckland.
supervise these projects alongside industry
In Kelly Olatunji’s (2013) R&D project
mentors. All projects use wool fibre and/ or wool
with bedding manufacturing firm FibretechNZ,
blends or waste wool. The model establishes best
Christchurch, she explored the potential of an
practice to share resources and experiences
innovative new wool-fill product (see figures 8-
within the thrust of daily industrial life and the
10). She followed an holistic approach using
demands of a Master of Design degree. It
textile design to explore functionality and
generates new knowledge for the business. The
aesthetics in relation to both the interior and
students gain commercial experience and the
exterior of the material. An extensive sampling
new capability generated in the student's project
process was initiated through online and
is transferred to the business.
workbook exploration to establish sources of
Turning now to graduate employment
inspiration. Technical processes and new digital
evidence, comparisons between the two groups
quilting strategies led to solutions that were a
of postgraduates lead us to find the most striking
departure from those used previously and
result as it indicates the funded students enjoy a
ensured the integrity of the loft was maintained

  7  
greater employment success rate within the NZ sustainability solutions, and partnerships to drive
manufacturing industry. Previously, industry success’ we find these attitudes and values
bosses were skeptical and dismissive of the upheld by Ellis, Harman and Macky. Harman
capability of textile design students to make a needed to research more sustainable coloration
contribution to their businesses. Prior to these options for the dyeing of wool for carpets. In a
projects it was more difficult for students to NZ Herald business article John Wyma
secure positions within manufacturing. The recognised the value of Harman’s research
experience of the collaboration has allowed trust stating ‘Rebekah’s work was very helpful in
and recognition to develop. narrowing down options, and we’ll be talking
Taken together a comparison of the two further with our wool dyers about some of the
different types of MDES projects, projects that newer technologies being developed’ (South,
raise questions in a socially critical manner or vs 2013).
industry, reveals that the MBIE students are Other compliments are provided during
making an impact by providing contemporary the course of the projects, often during the
material and product solutions for the NZ textile critiques held at pivotal stages. In October 2013,
industry. What is interesting is that the graduates Olatunji presented her design work to
of the recent industry engagements are all FibretechNZ, leading scientists and
working in the NZ industry with appointments representatives from funding bodies. At this
ranging from weave design to bedding design to point, these key voices recognized that design
innovation roles, whereas some of the other may have provided solutions to problems that
students chose or needed to go offshore to secure scientists could not solve and they believed the
high profile employment. An additional future of textiles in NZ would be secure if we are
consideration is that of the cost of employing a able to retain these young graduates in the
designer requires an investment that is more than industry (P. Sheldon, personal communication,
a company can manage based on challenges 11 September, 2013). The partnerships have
provided by a changing international market. brought a meaningful difference, products that
The evaluation of design in research are unique and well executed through high
activity to drive innovation reveals the students quality design and production. Students have
have used the purest raw materials and the most contributed to the development of breakthroughs
up to date production finishes to create products to create stronger and more appealing products.
with a unique and well-designed finish. It This view is further underlined by Peter
highlights research involved in material Sheldon, the chief executive of FibretechNZ,
investigation that also aims to provide solutions while mentoring Olatunji, he declares at the
to potential environmental and social problems. Creative Industries Symposium ‘he understands
For example, the development of waste fibre that we need closer relationships with
products uses technology to fuse cutting edge universities, in particular science and design to
ideas with traditional craft skills. Within the release the latent value of wool fibre’ (2013).
design process students and industry mentors This is a significant departure from the earlier
work in meticulous, methodical and adventurous directions declared in the NZ Wool Sector
ways. The results are uplifting in a creative, Science Strategy (2007) by the chairman, Sue
commercial and educational sense. Sheldon, who is also co-owner of FibretechNZ.
The industry R&D collaborations link
for the first time vital elements in the value chain 5. Conclusions
into a network: design researchers and industry This paper has given an account of a broad
stakeholders. Both student competency and spectrum of new directions and the reasons for
capacity extend to produce a high of level of the rapid increase in postgraduate R&D
technical and design expertise. They are helping mentorship programmes in the textile
to mitigate the impact of manufacturing in China manufacturing industry. One of the more
and satisfy emergeing consumer needs. significant findings to emerge from this study is
Returning to the recommendations of BASF’s that the stipend encourages graduates to remain
Lester Mills for the need for innovation to drive in NZ to undertake postgraduate study and

  8  
participate in the textile industry. The projects AgResearch, Lincoln, NZ. The multi-
offer added value to wool focused products as disciplinary team of students will work to ensure
opposed to selling the raw primary product every aspect of the products will reflect brand
abroad or designs of lesser value that compete value. Another different approach will be taken
with Chinese produced alternatives. to meet enquiries to supervise foreign students
The caveats of upholding confidentiality working in offshore industries. More R&D
need to be noted regarding the present study. It is projects involving individual students with NZ
necessary, as commercially sensitive specifics industries must continue to build on the
within the projects must not be revealed. successes.
Intellectual property must be protected. Finally,
an important limitation, the small number of References
projects needs to be considered. Caution must be
applied with a small sample size and findings 1. Baker, S. (2013). Creativity, competitiveness
may not be transferable to different geographic and the world of 2020. Address presented at
and economic circumstances. It is important to Creative Industries Symposium, Massey
note that to establish these projects the academic University, Wellington, New Zealand. Author’s
leading the collaboration needs a great deal of transcript.
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sound platform is established for project success. design. Presented at Massey University,
Typically the collaboration generates Wellington, New Zealand.
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