What Matters
Reconstructing a locally produced jumper from different perspectives
What Matters explores connectedness and textile quality, inspired by the craftsmanship of a historical jumper. Rooted in traditional craft practices and enhanced by semi-mechanised methods, the project brings age-old techniques into a contemporary context, highlighting their ongoing relevance today. Through an iterative process from farm to fabric, the project fosters collaboration and knowledge-sharing with local experts in ecology, shepherding, spinning, natural dyeing, and knitting. By adopting a small-scale, hands-on approach, it offers opportunities to reflect on the quality, value, and aesthetics that naturally emerge from engaging with the material and its context. In doing so, it uncovers valuable insights into the unique fibre qualities of regional wool, emphasising its ecological, historical, cultural, and future significance.
The project includes a research paper, handspun and semi-mechanized yarns, knitted samples, a jumper, and a book of fieldwork and expert insights.
Thank you: Helle Graabæk, Louise Ravnløkke, Tineke Camps, Sjraar van Beek, Ina van Opstal, Roua Alhalabi, New Order of Fashion Lab (Eindhoven), and KnitwearLab (Almere).
The project includes a research paper, handspun and semi-mechanized yarns, knitted samples, a jumper, and a book of fieldwork and expert insights.
Thank you: Helle Graabæk, Louise Ravnløkke, Tineke Camps, Sjraar van Beek, Ina van Opstal, Roua Alhalabi, New Order of Fashion Lab (Eindhoven), and KnitwearLab (Almere).
MA Graduation project - Kolding school of Design (DK)
Year: 2024
Images flock & shearing : Peelkudde Schaapsdrift
Ecology
Rooted in De Peel, the region of my childhood in the Netherlands, known for its rich history in wool trade, this project delves into its heritage while addressing the challenges posed by modern mass production. The landscape’s symbiotic relationship with sheep carries profound ecological, cultural, and emotional value. Due to industrialisation, however, the decline of wool sorting practices and expertise in fibre microns has diminished both the quality and utility of the wool. Yet, the Kempisch Heath Sheep, vital for preserving the heathland, continue to play a key role in maintaining these ecosystems, making their wool a sustainable by-product with a minimal ecological footprint.
Rooted in De Peel, the region of my childhood in the Netherlands, known for its rich history in wool trade, this project delves into its heritage while addressing the challenges posed by modern mass production. The landscape’s symbiotic relationship with sheep carries profound ecological, cultural, and emotional value. Due to industrialisation, however, the decline of wool sorting practices and expertise in fibre microns has diminished both the quality and utility of the wool. Yet, the Kempisch Heath Sheep, vital for preserving the heathland, continue to play a key role in maintaining these ecosystems, making their wool a sustainable by-product with a minimal ecological footprint.
“The symbiotic relationship between sheep and the land is reflected in the rich biodiversity of the heathlands.” – Sjraar van Beek
From farm to fabric
The project combines hands-on material research, fieldwork, and collaboration with experts. This approach addresses the decline of small-scale production and the loss of tacit knowledge. By prioritising quality over quantity, craft not only reconnects people to local ecosystems but also promotes an environmentally responsible worldview. It addresses societal and environmental challenges by preserving and passing on important values and infusing our lives with meaning and purpose (Walker & Zhan, 2019). Instead of rejecting modernity, this method offers a creative framework that bridges traditional knowledge with contemporary needs, ultimately shaping our future and redefining the role of design in society.
The project combines hands-on material research, fieldwork, and collaboration with experts. This approach addresses the decline of small-scale production and the loss of tacit knowledge. By prioritising quality over quantity, craft not only reconnects people to local ecosystems but also promotes an environmentally responsible worldview. It addresses societal and environmental challenges by preserving and passing on important values and infusing our lives with meaning and purpose (Walker & Zhan, 2019). Instead of rejecting modernity, this method offers a creative framework that bridges traditional knowledge with contemporary needs, ultimately shaping our future and redefining the role of design in society.
Collaborative network
Fieldwork and collaboration throughout the process, emphasised the need for region-specific production methods. Collaborating closely with experts who possess tacit knowledge, in ecology, shepherding, spinning, natural dye and knitting emphasises wool’s holistic value and ensures respect for its qualities throughout the process. ”This local, collaborative approach integrates place-specific resources and interactions, adapting materials and skills to reflect what is meaningful in a specific area (Fletcher & Tham, 2019).”
Fieldwork and collaboration throughout the process, emphasised the need for region-specific production methods. Collaborating closely with experts who possess tacit knowledge, in ecology, shepherding, spinning, natural dye and knitting emphasises wool’s holistic value and ensures respect for its qualities throughout the process. ”This local, collaborative approach integrates place-specific resources and interactions, adapting materials and skills to reflect what is meaningful in a specific area (Fletcher & Tham, 2019).”
Natural palette
Handspun yarns, created in collaboration with master spinner Ina van Opstal, challenge the norms of standardised production by embracing natural variations in colour and design. The project prioritises transparency in textile creation, valuing craft for its ecological, local, and systemic importance. These yarns serve as a tactile medium of communication, reflecting their origins, by incorporating context, aiming for longevity that stems from uniqueness and emotional connection to something one of a kind. This narrative approach underscores the dynamic, relational nature of materials woven into our everyday lives.
Handspun yarns, created in collaboration with master spinner Ina van Opstal, challenge the norms of standardised production by embracing natural variations in colour and design. The project prioritises transparency in textile creation, valuing craft for its ecological, local, and systemic importance. These yarns serve as a tactile medium of communication, reflecting their origins, by incorporating context, aiming for longevity that stems from uniqueness and emotional connection to something one of a kind. This narrative approach underscores the dynamic, relational nature of materials woven into our everyday lives.
Spinning
In the process, a combination of manual and semi-mechanised methods has been adopted, embracing a natural rhythm and fostering collaborative solutions. Additionally, a compact HILO spinning machine was constructed, for home use. Built using laser-cut wood and basic tools, the machine exemplifies small-scale, open source manufacturing.
In the process, a combination of manual and semi-mechanised methods has been adopted, embracing a natural rhythm and fostering collaborative solutions. Additionally, a compact HILO spinning machine was constructed, for home use. Built using laser-cut wood and basic tools, the machine exemplifies small-scale, open source manufacturing.
“Spinning takes time and patience, once you find your flow, the process becomes almost meditative and beautifully varied.” – Ina van Opstal
Into the lab
Using the larger HILO spinning machine in the NOoF LAB requires patience, as it spins yarn at one metre per minute, creating a texture similar to handspun yarn. While still a work in progress, the machine is complex and depends on pre-processed fibers, known as slivers, to function. Despite its current limitations, experimenting with semi-mechanised spinning offers valuable insights into fiber qualities and the possibilities of small-scale, local yarn production.
Using the larger HILO spinning machine in the NOoF LAB requires patience, as it spins yarn at one metre per minute, creating a texture similar to handspun yarn. While still a work in progress, the machine is complex and depends on pre-processed fibers, known as slivers, to function. Despite its current limitations, experimenting with semi-mechanised spinning offers valuable insights into fiber qualities and the possibilities of small-scale, local yarn production.
”Looking at the sleeves of the jumper is like gazing upon a landscape in itself”- Iben Høj.
Knit
To explore their potential, self-made yarns were tested on a digital knitting machine at the KnitwearLab. The approach was to embraces limitations as creative frameworks rather than obstacles, encouraging creativity within constraints and promoting more mindful resource use. Additionally, a jumper was hand-knitted from the same yarns, serving as a prototype for future reflection on the quality, tactility, aesthetics, and overall value of the project.
Knit
To explore their potential, self-made yarns were tested on a digital knitting machine at the KnitwearLab. The approach was to embraces limitations as creative frameworks rather than obstacles, encouraging creativity within constraints and promoting more mindful resource use. Additionally, a jumper was hand-knitted from the same yarns, serving as a prototype for future reflection on the quality, tactility, aesthetics, and overall value of the project.
To explore their potential, self-made yarns were tested on a digital knitting machine at the KnitwearLab. The approach was to embraces limitations as creative frameworks rather than obstacles, encouraging creativity within constraints and promoting more mindful resource use. Additionally, a jumper was hand-knitted from the same yarns, serving as a prototype for future reflection on the quality, tactility, aesthetics, and overall value of the project.
From farm to fabric
The project combines hands-on material research, fieldwork, and collaboration with experts. This approach addresses the decline of small-scale production and the loss of tacit knowledge. By prioritising quality over quantity, craft not only reconnects people to local ecosystems but also promotes an environmentally responsible worldview. It addresses societal and environmental challenges by preserving and passing on important values and infusing our lives with meaning and purpose (Walker & Zhan, 2019). Instead of rejecting modernity, this method offers a creative framework that bridges traditional knowledge with contemporary needs, ultimately shaping our future and redefining the role of design in society.
The project combines hands-on material research, fieldwork, and collaboration with experts. This approach addresses the decline of small-scale production and the loss of tacit knowledge. By prioritising quality over quantity, craft not only reconnects people to local ecosystems but also promotes an environmentally responsible worldview. It addresses societal and environmental challenges by preserving and passing on important values and infusing our lives with meaning and purpose (Walker & Zhan, 2019). Instead of rejecting modernity, this method offers a creative framework that bridges traditional knowledge with contemporary needs, ultimately shaping our future and redefining the role of design in society.
Natural palette
Handspun yarns, created in collaboration with master spinner Ina van Opstal, challenge the norms of standardised production by embracing natural variations in colour and design. The project prioritises transparency in textile creation, valuing craft for its ecological, local, and systemic importance. These yarns serve as a tactile medium of communication, reflecting their origins, by incorporating context, aiming for longevity that stems from uniqueness and emotional connection to something one of a kind. This narrative approach underscores the dynamic, relational nature of materials woven into our everyday lives.
Handspun yarns, created in collaboration with master spinner Ina van Opstal, challenge the norms of standardised production by embracing natural variations in colour and design. The project prioritises transparency in textile creation, valuing craft for its ecological, local, and systemic importance. These yarns serve as a tactile medium of communication, reflecting their origins, by incorporating context, aiming for longevity that stems from uniqueness and emotional connection to something one of a kind. This narrative approach underscores the dynamic, relational nature of materials woven into our everyday lives.
Into the lab
Using the larger HILO spinning machine in the NOoF LAB requires patience, as it spins yarn at one metre per minute, creating a texture similar to handspun yarn. While still a work in progress, the machine is complex and depends on pre-processed fibres, known as slivers, to function. Despite its current limitations, experimenting with semi-mechanised spinning offers valuable insights into fiber qualities and the possibilities of small-scale, local yarn production.
Using the larger HILO spinning machine in the NOoF LAB requires patience, as it spins yarn at one metre per minute, creating a texture similar to handspun yarn. While still a work in progress, the machine is complex and depends on pre-processed fibres, known as slivers, to function. Despite its current limitations, experimenting with semi-mechanised spinning offers valuable insights into fiber qualities and the possibilities of small-scale, local yarn production.
Knit
To explore their potential, self-made yarns were tested on a digital knitting machine at the KnitwearLab. The approach was to embrace limitations as creative frameworks rather than obstacles, encouraging creativity within constraints and promoting more mindful resource use. Additionally, a jumper was hand-knitted from the same yarns, serving as a prototype for future reflection on the quality, tactility, aesthetics, and overall value of the project.
To explore their potential, self-made yarns were tested on a digital knitting machine at the KnitwearLab. The approach was to embrace limitations as creative frameworks rather than obstacles, encouraging creativity within constraints and promoting more mindful resource use. Additionally, a jumper was hand-knitted from the same yarns, serving as a prototype for future reflection on the quality, tactility, aesthetics, and overall value of the project.
“The more we are limited in what we can do, the more resourceful we become.” – Anni Albers
*Albers, A. (2001). Selected writings on Design.
*Fletcher, K., & Tham, M. (2019). Earth Logic: Fashion Action Research Plan.
*Krogh, M. (2020). Connectedness: an incomplete encyclopedia of Anthropocene: views, thoughts, considerations, insights, images, notes & remarks.
*Walker, S., & Zhan, X. (2019). Craft as leverage for Sustainable Design Transformation: A theoretical Foundation. The Design Journal. Routledge.