CAD Research
CAD, computer aided design or computer aided manufacture, is the lesser readily available form of digital design. With this form of process, designs can be produced or sent to systems, either aimed at stitch or weave. Many companies use this process in a number of ways either embroidering a design or pattern or by using the technology as part of the production line to stitch things like pockets on a garment. (Tristram Shepard, 2004).
This form of technology is favoured because samples can be produced cheaply and anywhere in the world, thanks to digital software. This software also means that samples can be created quickly and quality can be guaranteed, ideal for mass production. (Tristram Shepard, 2004). This digital technology is favoured over traditional hand embroidered technique. Has this lessened the need for traditional stitching skills?
This technique has however benefited the craft industry. The introduction of CAD embroidery has meant that crafter can now stamp themselves, their name and their brand through digitally created labels through CAD stitching.
Added writing..............
Have technological advances favoured mass production over craft production?
Recently, there has been an explosion in the development of digital production methods, particularly in textile production. With the development of digital production methods such as digital print and CAD embroidery, does localised craft stand a chance.
Developments of technology and the globalisation of the textile industry have forced high culture and popular design into mass production. Mass production “is the industrial manufacture of large quantities of products usually on a production line” () and seems on the surface to have favoured fast fashion on craft design. In a world where everyone wants everything now, fast fashion is a quick fix, but has mass production cut out the costly and time consumer individuality to design?
It is easy to see why mass production is so popular in the textile industry. It is more affordable and safety is guaranteed. With individual products, you quality cannot be guaranteed, but in many high street stores low pricing is often valued over quality. quantity of stock rather than quality. Products can be easily standardised too and are often available at a more affordable price, “products are made overseas where labour costs are lower” (BBC, 2014). However, using cheap labour abroad, does bring its own costs which local craft does not inccure. Many consumers are very aware with working conditions overseas, particularly with recent events in the news being beamed across the globe. People’s reaction to such crises prove that the consumer does want companies to take responsibility and stop taking advantages of those less fortunate than the West. Also, “between the carbon impact of shipping, the source of any wood and textiles, and the cost of making synthetic parts, the ecological impact… quickly mounts up” (Merit Homes, 2013).
CAD, computer aided design or computer aided manufacture, is the lesser readily available form of digital design. With this form of process, designs can be produced or sent to systems, either aimed at stitch or weave. Many companies use this process in a number of ways either embroidering a design or pattern or by using the technology as part of the production line to stitch things like pockets on a garment. (Tristram Shepard, 2004).
This form of technology is favoured because samples can be produced cheaply and anywhere in the world, thanks to digital software. This software also means that samples can be created quickly and quality can be guaranteed, ideal for mass production. (Tristram Shepard, 2004). This digital technology is favoured over traditional hand embroidered technique. Has this lessened the need for traditional stitching skills?
This technique has however benefited the craft industry. The introduction of CAD embroidery has meant that crafter can now stamp themselves, their name and their brand through digitally created labels through CAD stitching.
One of the most recent and most popular digital methods to hit the trend wall is digital printing. On a trip to Design Junction over the summer, it was interesting to note that the majority of fabrics being sold by designers, were digitally printed. Commercially, fabric is rotary screen printed,which is a costly process, creating a unique screen for each colour. The technology for digital printing was first developed in 1968, onto paper, and since then has been developed for use on a variety of materials. Printing onto fabric using a digital printer is similar to printing onto paper at home, it uses to same processes, just with specially made dyes. This is a much quicker technique, fabric patterns can be designed, created and worn in a day. (Fashion-Incubator, 2010).
In theory, this new technology in digital printing would suit large mass produced companies because of the quick turn over in pattern printing, but at its current stage, digital printing is still an expensive process, especially for large quantities of fabric as the cost mounts up each time you print. With the screen rollers, there is one big pay out to produce the rollers, then it is relatively cheap to churn out the patterns. In a lecture with Carol Lake she suggested that Digital Printing has helped the small designer, more than the large companies. Digital printing allows you to print small lengths of fabric, relatively easily. As a result the local designer can quickly reproduce their designs on a small scale, so craft production is not so time consuming.
Earlier in the report the definition of craft was, “an occupation or trade requiring special skill, esp. manual dexterity” (Collins. 2014). Although we usually think of craft as being something, handmade, I think that in an age with the development of technology, we can class having the skills necessary to use the digital processes as a form of craft. These digital skills have helped enrich and develop new possibilities for craft.
Questionnaire results, gaining a consumer view of local craft
As part of primary research for the report, a questionnaire was carried out, both on survey monkey and in person. The idea behind the questionnaire was to gain a small insight into the consumer’s opinion of craft and whether it is relevant to the twenty-first century. Although only carried out on a small sample audience, results from the questionnaire prove interesting reading.
The questionnaire was filled out by forty three people, fourteen of which were male and twenty nine female, across the bracket age range of sixteen to sixty three.
When buying products, the consumers questioned saw the cost of the product as the most important factor, with 83% saying it was very important. This is set against the locality of the product, whether is was made and the miles it has gone through to get to you, and originality of the product, whether it was one off or mass produced, as of much lower importance. In the commercial textile market, this is where larger companies are succeeding, by aiming for low costs at the cost of other buying values upheld by the minority. However, as this questioning shows, there are still consumers who value locality and originality, with 32% of people saying that they at least consider the originality of the product. This shows that there are other factors which affect people buying habits. Although the mass produced textile market will always remain on top, there is a place for craft and its theory in people’s minds.
More than 60% of the people questioned said that they buy the majority of their clothing/textiles from online stores, based on popular high street brands, with 37% buying their textiles from highstreet store and only 3% from independant shops. Out of 43 asked, only 1 person brought the majority of their clothing/textiles from independant stores. In response to this question, consumers were asked what do high street chains offer that independant shops cannot. There was a huge variety of responses including cost of products, more suitable clothing/textiles to needs, but the most common response was the high street stores offered more choice, more variety. On the face of it, to me this thought a little odd because independent crafters are known for their creation of original products, patterns and styles. They source local material and chose their materials based more upon texture or weight rather than cost. However, when questioned further, it became apparent that high street chains offered more choice in the quantity of clothing, the style of clothing and sizing options. This is probably more down to the production methods used, as mass produced goods can be churned out a great deal quicker with more variety in styling, rather than hand production which is more time consuming.
It was clear that of the people questioned, sites such as ETSY.com and FOLKSY were not considered when buying products online. 86% of people said they had not considered buying from these such sites. This is probably not uncommon as sites like this are still relatively new ideas to online shopping, allowing anyone to sell their crafts. They are not advertised as much as larger online retailers, some of the people questioned had not even heard of such sites.
To conclude the results from my questionnaire, the consumer was asked whether they would be willing to pay more for a more individualised, personal product. Over half of the 43 people who replied to the questionnaire, said that would be willing to pay more. “handmade clothes have always been a desired premium” (Marguerite, 2012) and there is a growing trend against the global capitalist culture, handmade crafting is a new trend and people are willing to pay more for a sign of quality.
Content analysis results, fair representation/pricing?
Contemporary examples of designers/design companies, what does this prove?
How relevant is the craft industry?
No comments:
Post a Comment