about the value of handicraft
traditional texile surfaces / digital filter
This work explores the playful examination of old textile craft techniques and the breaking up of traditional structures through digital filters. By scanning, photographing, digitally post-processing and overlaying different techniques, new patterns are created. This abstraction represents experimental arrangements for the translation of handicraft into the digital age and also suggests alternative manufacturing methods for clothing.
The lasercutting technology, which is easily and inexpensively accessible in various open workshops, so-called makerspaces, alternative production strategies for clothing are explored. Cut parts are prepared in such a way that they can be put together with traditional hand stitches as desired. A sewing machine and sewing skills are not required to assemble the garments. The transfer of the idea of the “open source” should finally find its way into the fashion sector. This work tests the limits of group-independent clothing production and speaks out against passive consumption and in favor of social cooperation.
The digital democratization of fashion, which is being driven primarily by additive manufacturing methods, enables a break from mass production and the creation of individual pieces as required.
The creative manufacturing process is no longer subject to any restrictions. In open workshops that have been made accessible, new digital technologies can be applied to unconventional artistic and previously unknown forms, often with the help of open source programs.
How much traditional knowledge should be preserved for the future? Does sticking to tradition prevent innovative progress?
Possibilities for combining knowledge allow new room for maneuver and thus form the basis of a new craft. Does the new know-how replace the old ideas? The arrival of fashion in makerspaces could represent a countermovement to global industrial clothing production. If clothing were to be produced locally and socially again, what effect would this have on the attribution of our clothing?
Would brands still play a role? Can fashion be currency-free?
Garments Stephanie Edelhofer
Photography Daniela Poschauko
Models Aleksandar Murkovic
David Hell
Special Thanks to
Simon Hochleitner
Lisa Polster