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Banal and splendid form: revaluing textile makers’ social and poetic identity as a strategy for textile manufacturing innovation

Banal and splendid form: revaluing textile makers’ social and poetic identity as a strategy for textile manufacturing innovation
Banal and splendid form: revaluing textile makers’ social and poetic identity as a strategy for textile manufacturing innovation
This is a submission for the Award of PhD by Published Works. The commentary on three published submissions organises a programme of work focussed on reframing traditional textile craft skills within the context of innovation and knowledge exchange policies. This overarching problem is presented through expanding spheres of activity, from personal textile art practice, to collaborative projects, to social and public policy thinking. The research outputs include a textile based video work, case studies completed for a three year EU funded project, and selected chapters from an academic book.

The consistent aim of the research has been to engage audiences with valorising and recovering textile skills, the shared cultural significance of making cloth and the renewal of industry informed by heritage and social values. My research journey addressed these through critical challenges to prevailing practices of the period, new representational formats and theoretical investigations on the social purpose of making textiles. The following questions have guided my project: is technology a way to challenge narrative development and revaluing of textiles? Is textile production a narrative of collecting and expanded authorship? Can this view enable innovation and competitive advantage in artisanal manufacture?

The research methods engaged textile based work with fine art practices, psychoanalytic and cultural theory frameworks. Methods from one discipline were used to inform another, developing visual solutions informed by textile related vocabularies and methodologies.
For example, quilting is used to discuss the layering of identities, separation and fragmentary experiences, temporality and recurrence, as well as an economy of cultural and emotional exchange. In later outputs this interdisciplinary knowledge enriches the qualitative case study findings on creative industry models and entrepreneurial innovation.

The research findings indicate that textile making can be understood as a social and progressive process of identity creation, inflected by the clustering of diverse narratives. Leveraging the difference in social and cultural capital in textile production clusters can be a model of renewal, bringing about innovation as a consequence of familiar, manual contexts. Further research could be undertaken to identify how new textile enterprises might gain from and sustain heterogeneous communities, for example brought about through migration, to the benefit of social inclusion and industry renewal.
University of Southampton
Padovani, Clio
ecb4ce59-61d4-4626-a953-4ad75275169d
Padovani, Clio
ecb4ce59-61d4-4626-a953-4ad75275169d
Dhillon, Rapindar
c3cc6379-3913-4288-820d-3e26aac12e88

Padovani, Clio (2019) Banal and splendid form: revaluing textile makers’ social and poetic identity as a strategy for textile manufacturing innovation. University of Southampton, Doctoral Thesis, 106pp.

Record type: Thesis (Doctoral)

Abstract

This is a submission for the Award of PhD by Published Works. The commentary on three published submissions organises a programme of work focussed on reframing traditional textile craft skills within the context of innovation and knowledge exchange policies. This overarching problem is presented through expanding spheres of activity, from personal textile art practice, to collaborative projects, to social and public policy thinking. The research outputs include a textile based video work, case studies completed for a three year EU funded project, and selected chapters from an academic book.

The consistent aim of the research has been to engage audiences with valorising and recovering textile skills, the shared cultural significance of making cloth and the renewal of industry informed by heritage and social values. My research journey addressed these through critical challenges to prevailing practices of the period, new representational formats and theoretical investigations on the social purpose of making textiles. The following questions have guided my project: is technology a way to challenge narrative development and revaluing of textiles? Is textile production a narrative of collecting and expanded authorship? Can this view enable innovation and competitive advantage in artisanal manufacture?

The research methods engaged textile based work with fine art practices, psychoanalytic and cultural theory frameworks. Methods from one discipline were used to inform another, developing visual solutions informed by textile related vocabularies and methodologies.
For example, quilting is used to discuss the layering of identities, separation and fragmentary experiences, temporality and recurrence, as well as an economy of cultural and emotional exchange. In later outputs this interdisciplinary knowledge enriches the qualitative case study findings on creative industry models and entrepreneurial innovation.

The research findings indicate that textile making can be understood as a social and progressive process of identity creation, inflected by the clustering of diverse narratives. Leveraging the difference in social and cultural capital in textile production clusters can be a model of renewal, bringing about innovation as a consequence of familiar, manual contexts. Further research could be undertaken to identify how new textile enterprises might gain from and sustain heterogeneous communities, for example brought about through migration, to the benefit of social inclusion and industry renewal.

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Published date: July 2019

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Local EPrints ID: 433952
URI: http://eprints.soton.ac.uk/id/eprint/433952
PURE UUID: 86e42669-626b-498b-93c8-167b384a5a6f

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Date deposited: 09 Sep 2019 16:30
Last modified: 09 Sep 2019 16:30

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