- Survey
other similar studies in the field.
It would appear
that there was no currently available study of design practice in
the U.K. textile industry. This in itself was a justification for
the study as a record of the state of play in the U.K. textile industry
as a ‘snap-shot’ of practice and attitude at the cusp of the millennium
and the point at which the use of the new technology is beginning
to impact. The comparable studies that we found were:
‘The Survey
of the United Kingdom Fashion Designer Industry’ commissioned
by the British Fashion Council and carried out by Kurt Salmon Associates
(Salmon 1991)
This based its
findings on a questionnaire sent out to 150 design companies.
It surveyed
a group of companies with an equivalent market and turnover.
The authors
were confident that their survey provided an accurate image of the
industry. Overall the Salmon enquiry concludes that the U.K. designer
fashion industry is a "cottage industry "; undercapitalised and
finding it difficult to compete internationally. Design standards
are high but quality is poor. The poor quality of U.K. textiles
and fabrics leads most fashion designers to use foreign suppliers.
( see Salmon )
‘ Survey
of the USA textile industry and independent textile designers
.’
Elaine Polvinen
( Buffalo State College , State University of New York)
a report on how CAD was perceived.(1989) Four hundred questionnaires
were sent out and 40% of the industries replied and 20 % of the
independent designers. Unfortunately this survey only came to light
after we had finished our research ( see Polvinen, Textile Technology
Int.)
‘The
Internet : A viable Strategy for Fashion Retail marketing ?’ Ruth
Murphy
( Program Leader
–Department of Consumer studies at Glasgow Caledonian University.)
Fifty three
questionnaires were sent to U.K. retailers by e-mail and regular
mail service.
- responded ,
four were discarded. ( see Murphy )
‘Textile
Design and Technology – Two Poles? ‘ a paper by Alena Pavko
Cuden (Department of Textiles at the University of Ljubljana)
an exploration of the integration of the technical and creative
and its implications for further education.
- Gather
names, addresses, design specialisms of textile designers, agents
and manufacturers and approach a small representative group of each
to assist in the development of the questionnaire. Visit trade shows
and exhibitions to make contacts and identify chief players and
the level of quality, depth of assessment to aim at.
To this end
it was seen as imperative to identify key players and to find a
balanced and representative group. This group should not only represent
weavers, printers and knitters but also a breadth of working and
business practice. We would attempt to cover those individuals who
prefer to work in an art/ craft orientation with known customers
as well as those who produce designs comparatively prolifically
and impersonally, to be sold to unknown clients through agencies.
We also wished to net a scale of experience to see to what extent
attitudes and uptake of new technology differed as between those
who had spent many years as designers and those at the start of
their careers. We hoped to get an even representation of furnishing
to fashion fabric designers. As to quality it was felt that we had
sufficient experience to identify those working at the middle to
upper cost and quality brackets. This is a comparatively small market
community and whilst not close knit there are events and market
weeks throughout the year where both the well-established and ingenue
participants would tend to congregate.
It was thought
that the luxury market would not be a reliable indicator of common
practice. Most of these transactions are specialised and often commissioned,
although we are aware that many of our respondents would sometimes
undertake such work.
It would have
been interesting to track down and compare practices at the low-end,
fast turn around, knock-off end of the market but it seems that
much of this work is done clandestinely and our initial enquiries
only aroused hostility and suspicion.
Textile items
and products such as T-shirts and tea-towels have a much different
business and pricing structure to the mainstream .(They are perhaps
worthy of a separate study.) Except where they are included incidentally
in the portfolios of those who have responded we decided not to
pursue these routes of enquiry.
We approached
some well-established studios and agents at this stage. This
group were keen to help educationally but were more wary of our
motives in building a piece of
software that
could threaten their role in marketing designs. As we saw it, agents
play an extremely important and crucial role as the buffer between
the creative and the industry.
Clearly there
were different services on offer. We were interested in what part
the new technology could play in augmenting these. Again we were
looking for a range of experience, size of agency and studio; those
handling a variety of different types of work and also some international
comparison.
Of all the groups
we aimed to draw into this study the Textile companies proved
the most elusive. We had effective discussions with a number of
representatives of companies - to whom we are very grateful. However,
most stated that they preferred to just have a ‘quick phone discussion’
and were unwilling to fill in a questionnaire. It looked as if it
would be much harder to get a representative group of weave, print
or knitwear manufacturers to fulfil the studies’ requirement.
One of the difficulties
was simply that of scale – e.g. the person responsible for the companies’
design-buying policies was not the same person who was in charge
of new technology. Very large companies such as Courtaulds PLC had
so many divisions with different demands that it looked as if tackling
this sector would be beyond the scope of our study. Approaching
someone authoritative enough to have an overview was often difficult
given our own lack of ‘status’. There was less willingness to collaborate
with education in this sector. Additionally the businesses could
not envisage how education could help them- as " we already know
our business ", our requests were often met with impatience. It
was decided that we would approach a number of companies at trade
shows such as Premier Vision and Indigo ( Paris
) with a view to making personal contact to be followed up later.This
strategy met with some success and ultimately although the number
of respondents in this section was not high they were representative
and also players of significance and experience.
It is our policy
to maintain the confidentiality of those who responded.
For the most
part this was conceived as a study to evaluate practice in the U.K.
However we were
mindful that the marketing of U.K. textile design is a global activity
.
(Our questionnaires
hoped to establish the scope of this.) It was deemed too costly
and risky to translate the questionnaire and its responses into
other languages. We decided to contact a number of English speaking
designers working in these fields. We also targeted a number of
European and USA companies to evaluate any significant differences
of opinion, design methodology, modus operandi and attitude to the
new technology.
- Examine
the building and writing of questionnaire material. Find and learn
suitable questionnaire / database software. Build interactive computerised
questionnaires.
The writing
of questionnaires is a complex and fraught subject in its own right.
We looked at
issues of appropriate modes of questioning and wrote the questions
wherever possible with Yes, No ( and Sometimes) responses that could
be assigned a value. Clearly there were occasions where the respondent
would be moved to clarify their position so we allowed for a number
of additional information boxes. Sliding scales with spine points
were added for quantifying percentage responses.
The pacing of
a questionnaire is vital - it is necessary to keep the respondent
interested and filling in to the very end. The respondent needs
to feel involved; to some extent it is an opportunity to raise consciousness
and issues through the respondents’ awareness
of their own
answers. And finally there must be an incentive to mail it back
–
( we included
a S.A.E. and all respondents, to whom we are immensely grateful,
will receive a copy of this report. )
Research Fellow
– Ben Parish had helpful prior experience with questionnaires and
programmed FastForm software that would compile information entered
directly to a data base. ( Microsoft Access database )
No questionnaire
was to be longer than four pages – but we also had a constraint
built into the software which limited the number of questions that
could be compiled and stored digitally. The data base is active
so it is theoretically possible to keep it up to date by asking
others to contribute. However at this point the funding has ceased
and the database may most usefully be seen as a snapshot of practice
and attitudes at this point on time. The data base is available
for scrutiny- minus the names and addresses of those who responded
at our project web site and related web-sites of the
London Institute
: http://www.csm.u-net.com . There is a help file to guide your
use and copies can be downloaded and printed out from your computer.
We would apprecitae your comments.
- Questionnaires
: Create three titles to establish the working practices of :
- Freelance
Textile Designers
- Agents
and Studios
- Textile
Companies
Sub sections
of the questionnaire divided as follows:
Freelance
Textile Designers
Part A. general
questions
Part B. finding
work
Part C. working
with agents ( where applicable )
Part D. selling
designs
Part E. legal
issues
Part F. Technology
Textile
Design Studios and Agents
Part A. general
questions
Part B. selling
designs
Part C. working
with freelancers ( where applicable )
Part D. legal
issues
Part E. Technology
Textile
Companies
Part A. general
questions
Part B. buying
textile designs
Part C. commissioning
freelancers ( where applicable )
Part D. legal
issues
Part E. technology
An example of
each questionnaire can be found on the textile research project
web-site
At http://www.csm.u-net.com
- Send
out the prototype questionnaires for evaluation. Amendments. Mail
questionnaires to 500 identified recipients , also conduct face
to face interviews with the questionnaire at Premier Vision, Decorex
and 100 % design trade shows . Extend the availability of the questionnaire
to Europe , U.S.A. and other practitioners via an internet web
site
in
order to make comparisons between working methods that might differ
from those in the U.K. Use the web site to document the progress
of the Ph2 project and make links to other textile sites
in order to formulate an understanding of distance presentation
and concept development in the textile arena – world wide.
The building
of the three linked questionnaires and the database to analyse the
findings was a major task and took 7,500 lines of C++ code to process.
The questionnaires were tested by a select group of twelve representatives
of each of the areas and different disciplines consistent with current
practice in the textile industry.Out testers told us where they
found ambiguities or repetitions and we amended accordingly. All
questions were assigned numerical and code values to enter the information
into the Access data base.
Five hundred
were printed and distributed by post and through personal contact.
A small number of people were approached face-to face and their
responses entered into the computer directly. (this proved to be
a more unweildy and time-consuming process than envisaged and this
method was dropped.) The questionnaires were also set up interactively
on the web-site. However the response from this was negligible.It
was apparent that very few textile–orientated visitors found it.
The findings of this research project are to be made available on
the Central Saint Martins Fashion and Textiles School web site at
a later date.The results of the questionnaire are to be written
up and presented in a variety of forms i.e.
- Published to
papers and journals as articles- highlighting academic or business
orientated aspects for different audiences and interested parties.
- Edited as a
simple report and feed back , as promised to those who participated.
- Published in
a form to support an the T3 exhibition material.
- Incorporated
in a multi-media interactive computer presentation with statistics,
graphs and bar chart – compatible with the T3 Textile Techniques
and Technology CD-rom.
- Edited in HTML
and published on our web-site www.csm.u-net/survey.htm
- Presented at
conference for discussion and review re educational issues.
- Enter the
results of the returned questionnaires into the database. Evaluate statistically .
We collected
a total of 81 freelance designer questionnaires
40 agent and
studio questionnaires and 33 company questionnaires.
This is to be
considered a good return on the mail out and in the light of other
studies – of sufficient significance for the statistical inferences
to be relevant to the whole.
See Questionnaire
analysis
- Concurrently
further develop a CD-rom (m2
) presentation of T3 (
first phase) of the Textiles Research Project. Emphasis being on
a high quality contemporary graphic interface and appropriate supporting
explanations as to process, computing and materials. Credits and
acknowledgements for sponsors. Add sound. The CD-rom to be compatible
with both Mac and PC platforms.
Now completed.(see
below) 1000 copies of T3m2
distributed.
- Test and
appraise methods and software for connectivity – video-conferencing,
networking. Identify collaborators. Join user groups. Survey other
similar projects.
Set up ISDN
lines at two/three London Institute sites and run series of tech
tests
Whilst awaiting
the return of the questionnaires we turned our attention to the
development of the various media. We reviewed software currently
available at mid to top end of the range on three platforms – P.C.(
IBM ), Mac and Unix. It became increasingly apparent over the period
of the research project that textile professionals were moving firmly
towards the use of the P.C. This is almost entirely due to the lower
cost benefits and the greater range of software available on this
platform. Stand-alone and dedicated CAD systems continue to be used
to be used to great advantage. Nevertheless, we were looking for
a moderate, user friendly specification which would be highly compatible
with other users. For this reason it was decided that the CD-rom
interactive showcase of the T3
Textiles,Techniques and Technology already in development on the
Macintosh system be extended to the P.C.
It is intended
that 1000 copies of this work will be distributed internationally.
Also apparent
throughout this period was that the software available for the textiles
and design sector was increasing and improving in sophistication
at a tremendous speed. The questionnaires were invaluable in evidencing
the need and feasibility of an aid to the communication of designing,
technical information, negotiation and fostering of trade in the
textiles sector. We were also able to gauge the preferences and
blind-spots of the textiles professional re computer software. It
was unrealistic to attempt build a program that could encompass
all of the features across three different disciplines. The advent
of real-time application sharing offers the opportunity for all
this and more through the simple medium of an internet service provider
(ISP) on a fast modem and broad bandwidth.(see technical
appendix on web-site) The cost of such connections are tumbling
rapidly and the hardware that goes with them is now well within
the reach of an average freelance designer, agency or studio. We
found that once we had set up a connection to the internet we were
able to locate information, software and advice much more readily
and to effectively pursue the second part of this project – the
creation of new communications and portfolio software .( see Portfolio
interface Software )
Running
tests on ISDN lines for transfer of artwork and design discussions.
We set up two
computers ( Pentium 133 P.Cs) on different Institute sites with
Connectix cameras, microphones and speakers, video-capture boards
and ISDN 2e connections and terminal adaptors. Unfortunately we
seriously underestimated the time it would take to get connected.(The
British Telecom advertisements were claiming ten days.) In the event
it took three months largely due to a change in the specifications
in the technology and a paperwork log jam on both accounts. This
delay had inevitable repercussions for the testing and evaluation
of the processes. A number of possible scenarios that might apply
between designers and their clients were tested, including the intermediary
of the agency. In the business environment video-conferencing has
been shown to support faster, more spontaneous decision making.
In practice it takes some getting used to – however the difficulties
are quickly over come by only switching on those utilities currently
demanded and accessing greater speed and clarity. It enables distance
sharing of applications which is a significant cost saving on software
. File transfer of documents and information is extremely fast ie.e.
almost instant, and a huge advantage over fax and courier deliveries.
( in true-colour unlike the fax machine.)
Travel costs
are cut down to a minimum. It allows for very quick or frequent
meetings which would probably not take place at all given distance
constraints- so cutting lead times. This in turn alters the relationship
between those using the system to one of familiarity – generally
improving the sense of loyalty that one party has to another. Video-
conferencing is beginning to open up new market areas, especially
in the individual and commission design areas. It is still an emergent
technology but many studies are throwing light on the benefits of
working globally in this manner. The majority of these are
in the fields
of architecture and major engineering projects. Given the now global
scope of manufacturing clothing this technology should prove to
be a genuine cost saving for the fashion and textiles industries.It
is already fully embraced by the magazine publishing and advertising
graphics fields .
Bibliography
of studies and reports which we found of use:
Fashion Net
- Project B3004 Fashion Database Network ( FINS
– Fashion Intelligence Navigation System ) through a LAN bridge
setup using PC’s and SUN workstations, over an ATM connection via
the Queens University Belfast. http://dougal.derby.ac/fnet/
This coterie
have also tested a video-conferencing software called ShowMe
and a whiteboard application for fashion designers called Scribble.
The Right
Tool at the Right Time – drawing as an interface to knowledge
based design aids. Ellen Li-Yuen Do. College of Architecture.
Georgia Institute of Technology and Sundance Laboratory for Computing
in Design. Boulder, Colorado.
A proposal for
an intelligent sketch environment responsive to the needs of the
designer.
‘Do’s and
Don’ts of Video-conferencing’ – P. Riebold. experience from
LIVE-NET.
SIMA report
no 7
Strategies
for the effective use of Computers and Communications Technologies
in Art . Colin Beardon University of PlymouthTechnical
report series ISSN 1356-9066
From the Advisory
group on Computer Graphics
Release 2.0
A design for living in the Digital Age. Esther Dyson (
the ‘First Lady of the Internet’ .)Viking 1997. Issues for societal
change raised by digital communication.
Digital Business
Ray Hammond ,Hodder and Stoughton 1996
User Interface
Design K.Cox & D. Walker , Prentice Hall. New York
Tele learning
in a digital World B. Collis Thompson Computer Press
- With
reference to survey material and experience gathered from discussion
with collaborators and staff set down the tools and services to
be incorporated into the textile design portfolio interface software.
Locate ‘off
the shelf’ software to combine with this suite. Build structure
of software in Visual Basic . Discuss and draw up plans for the
look of the Graphic User Interface (GUI).
Develop,
test and complete the group-user software to a point of distribution
for evaluation purposes.
Having reviewed
the literature and software with the benefit of indications as to
what is required by the textile designer and practitioner through
workshops and responses to the questionnaires we have identified
the form and style of a textiles ‘portfolio ‘software package.
We have in our
sights a clearly defined scheme of the contents and mechanism of
an integrated useful suite . This is to be based loosely on the
familiar ‘Microsoft Windows’ icons and routines set within the framework
of a (textiles metaphor) ‘friendly’ graphic user interface. ( see
appendix - test interface images )
This interface
to be customisable to suit the personality of the owner but also
to retain a compatibility with those remote users who connect with
it. ( e.g. in the same way that kitchens vary in style - yet we
still know how to locate the fridge and the sink.)
The interface
will be intuitive; the use of the software will not require training
although it takes some practice to use the video-conferencing utilities
with confidence.
At present the
skeletal structure has been coded in Visual Basic and is in place.
A large number of tools have been assembled for arrangement however
it is unnecessary to overload the features of the tool-set as it
is possible to interact with the specialised software preferred
by the designer. (Only one user need have that software for it to
be usable to all through the Microsoft Netmeeting connection.) It
would be useful to have further corroboration here from all three
sectors as to which general tools are essential. Additionally it
could be possible to ‘buy’ a specialised toolset for the different
textile disciplines.There is clearly a need for further testing
and running more ‘scenarios’.
Tools
and services to be included:
- Broadly the
software covers simple and necessary textile design processes of
the painting, scaling, graphing and repeating ( half-drop through
the 17 symmetries).
- It includes
4 colour set processing, colour reduction and CLUT palettes.
‘Pantone’ colour
matching ( licence to be applied for ).
- Weavers and
knitters will be able to work on specifiable graphs.
- Archiving (
fractal compression ) and slideshow presentation of a digital portfolio
which can be accessed by album, keyword, category, number, price
etc.
- Customisable
‘stationary’- business templates for ordering, invoicing, dockets,
terms, memos, stocksheets, authentification certificates etc.
- A textile glossary
– possibly updatable to a foreign language dictionary.
- advice on legal
rights, copyright information and digital watermarking for the security
of designs.
- A connection
to Microsoft netmeeting provides the multi-user with video-conferencing,
audio and whiteboarding.It should be possible to join special interest
groups and have details of trade events, sales etc. sent to a calendar.
- Real-time application
sharing (given the broader bandwidth of an ISDN telephone line.)
- direct file
transfer.
- lock-out and
pass-words to prevent prying. Digital watermarking and registration.
( see Current
Status or web-site for an update of this software )
