Conference Agenda

This paper explores craft as a site of making and thinking, asking how practice-based ethnography can extend design theory amid ecological and social uncertainty. Drawing on apprenticeship-style fieldwork (2024-2025) with craft communities in London (UK) and Yogyakarta (Indonesia), the study engages practitioners working across textiles, silver, gold, stone, wax-resist batik, wool, and silk. While textiles provide a methodological thread, the research examines how diverse materials shape knowledge through constraints, resistances, and affordances. Grounded in design anthropology and practice-based interpretations of posthuman and new materialist thought, material agency is understood as the capacity of matter and process to influence decisions and tempo. Craft operates as both method and metaphor: method, through parallel making that produces tacit, embodied knowledge; metaphor, through iterative acts of joining, casting, carving, and repair. Sustainability is approached as a situated ecological, economic, and social practice, reframing design as a relational, co-creative process attentive to continuity and care.

This paper positions textile-making as a way of understanding the world through embodied engagement with materials, processes and relationships. Drawing on Xiang embroidery traditions and the Chinese philosophical concept of Qi-Yun (vital force and resonant rhythm). Through participatory workshops with local communities in Hunan, China, it explores how tacit knowledge emerges in a specific context through inner perception, observation, collaboration and dialogue surrounding material interaction and the accumulation of experience. A triangular methodology is developed to analyse multiple standpoints (traditional practitioners, technical collaborators and spectators) and articulate how different standpoints participate in meaning-making within textile practice. This approach theorises embroidery as Qi-Yun flow, rather than a static cultural symbol. It contributes to pluriversal debates by bringing Chinese cosmological thought into dialogue with global discourses on decolonial and Indigenous knowledge systems, as well as having wider implications for design research and cultural knowledge transmission.

Driven by the potential of smart textiles, shape-changing structures, living textiles, and sustainable manufacturing methods, designers seek to push the boundaries of weaving. However, most existing industrial technologies are designed for mass-producing simple, flat fabrics. This has narrowed the collective understanding of the design potential of woven textiles, thereby restricting the development of complex, three-dimensional, and animated textiles. We present a toolkit, developed through an exploratory workshop and focus group discussions with academic and industry-based designers, that enables exploration and expansion of the design space for woven textiles. The card deck and canvas provide a shared language to externalise and interrogate existing ways of thinking, while a modified frame loom enables hands-on exploration of new possibilities. The toolkit demonstrates how combining analytical reflection with hands-on making offers both techniques and a vocabulary for unconventional textile design while providing a method to critically examine production systems in the textile industry.

This research demonstrates textiles as an analytical framework to encode forms of distributed intelligence inaccessible to computational modeling alone, challenging contemporary design's reliance on material homogeneity. Using 3D-printed Voronoi lattices on pre-stretched tulle substrates, we reconceptualize anisotropy (directional variation in material behavior) from engineering liability to design theory cornerstone.

While conventional design favors isotropy for predictability, it has been long observed that biological textiles (skin, muscle tissue, tendons, spider silk, etc) have achieved adaptive functionality through engineered heterogeneity. By systematically varying infill patterns within Voronoi structures, we establish a methodology enabling textiles to hold contradictory mechanical states simultaneously and respond adaptively without centralized control. Pre-stretched substrates embody temporal duality, maintaining both tensioned and relaxed configurations without resolution.

Beyond theoretical frameworks, anisotropy functions as organizational logic for adaptive architectures–envelopes remembering directional loads, facades expressing seasonal deformation, garments teaching posture through variable resistance, and kinetic surfaces communicating emotion through geometric transformation.

This paper investigates how natural dye printing and material agency in textile design can generate theoretical insights for design practice and pedagogy. Textiles are positioned as participants in material processes, where material behaviour, environmental exposure, and user interaction shape design outcomes, moving beyond stability and control toward adaptability, reflectivity, and sustainability. Drawing on critical making and time-based design thinking, impermanence and imperfection become foundational strategies for developing pedagogical and theoretical frameworks. Practice-based experimentation demonstrates how process, relationality, and sensitivity to materials allow theory to emerge directly from making and observing transformation. By embracing changeability, this approach reframes conventional notions of durability, value, and aesthetic perfection, offering a method for exploring how textiles can act as media of knowledge and design inquiry.

This paper explores how textile dialogues can be crafted within material‑driven de-sign processes in the context of increasing environmental pressure on textile re-sources and forthcoming regulations such as the EU Ecodesign for Sustainable Products Regulation. Through observations of professional practitioners and anal-yses of design students’ thesis work, the study investigates how material‑first ap-proaches influence ideation, prototyping and reflection in apparel and textile de-sign. Practitioners naturally engage in reflection‑in‑action, using craft skills to nego-tiate material behavior and technologies, often leading to unanticipated design di-rections. Students, guided by the material‑driven design model for apparel and tex-tiles, deliberately develop similar dialogues, gaining insights into material potential and limitations while strengthening their awareness of resource scarcity. The find-ings suggest that incorporating material‑driven methods early in the design process enhances designers’ “response‑ability” and supports more environmentally respon-sible decision‑making. The study points toward integrating such models more broadly in both design education and professional practice.