Textile Design: A Holistic Perspective

J. Moxey.
Department of Textiles, UMIST, Manchester, M60 IQD, UK
Received 6.4.1999 Accepted for publication 12.4.1999

In 1935 The Journal of the Textile Institute published a series of papers submitted by H. J.
Woods that identifled a conceptual theory based on the geometry of symmetrical repeating
units. Recently this work has been revised by Horne and Hann (1998). The theories offered
within these papers relate to a 'science of design' that textile designers should be aware of. In
this essay, an argument is made that the design of textiles is reliant on many variables and
that theories of pattern must be placed within the context of these variables if the true nature
of textile design is to be identified.

1. INTRODUCTION
The manufacture of clothing for warmth and protection fulfils a basic need for most people.
This, combined with the rudimentary human desire to furnish our homes, means that the
textile industry has played a significant role in the history of global commerce (Colchester,
1996, p.6). In common with other market sectors, the modem textile industry is fragmented
into a number of disciplines. These include apparel, home furnishings, and technical textiles.
Further sub-divisions exist within these disciplines. The home furnishing sector, for
example, includes textiles for the kitchen, bathroom, and bedroom. An exercise in
identifying the nature of design and the conventions that define search parameters for new
product ideas within these disciplines would assist textile design students and practitioners.
A credable approach would be to investigate the key variables or elements that influence
the design of products within each discipline.
In 1935 the Journal of the Textile Institute published a series of papers submitted by
H.J. Woods that established a basis for a 'Science of Design' that would apply to textiles
(Woods \92>5a,b,c). His theory, with algorithmic precision, facilitates the creation of
virtually any two-dimensional pattern from symmetrical repeating units. This is based
upon a premise that the 'Science of Design is, in fact, only a simplified and specialised
part of that branch of physics devoted to the study of crystalline forms' (Woods, 1935a,
p.l97). Recently this work has been reviewed by Home and Hann (1998) who have offered
revisions and additions. The form of science advocated within these publications is
undoubtedly without flaw. However, these theories are based on one design element (pattem)
and, as such, claims of promoting them as the basis for a science of design are fundamentally
misleading. If textile design is to be studied in an attempt to understand its peculiarities,
then researchers should aim to systematically identify the nature of textile design and the
behaviour of textile designers.
Woods and his advocates do not provide a precise definition of the term design in the
context of their theories. Their use of the term design is based on a lack of understanding
of the creative and analytical processes involved. Critics might dismiss this as being
pedantic; however, one must take into account the fact that designers (especially students
and new graduates) will be exposed to these theories. Thus, theorists must be specific
about the claims that they make and should place them in their tme context.
Researchers have made significant progress in defining the term 'design'. Gorb and
Dumas (1997, p.l62) offer a working definition; that design is 'a course of action for the

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Textile Design: A Holistic Perspective

development of an artefact or a system of artefacts; including the series of organisational

activities required to achieve that development'. This definition was developed to take
into account a wide number of design activities. Kotler and Rath (1997, p.2O8) offer their
own definition, which again is targeted at a wide audience: 'Design is the process of
seeking to optimise consumer satisfaction and company profitability through the creative
use of major design elements (performance, quality, durability, appearance, and cost) in
connection with products, environments, information and corporate identities'. This
emphasis upon the profitable synthesis of design elements is of great relevance to textile
designers and will form the basis of the argument that follows.

2. THE BASIC ELEMENTS OF TEXTILE DESIGN

Woods claims that 'every work of art must be judged from the standpoint of the use to
which it is to be put' (Woods, 1935a, p.l97). If he includes the output of a textile designer
as works of art (and it appears that he does) then he has indirectly exposed the problems
associated with his own argument. He fails in each of his three papers on pattern design,
to address the issue of functionalism. The introduction of this factor into the debate opens
the flood-gates to an ocean of other variables that must be considered. Surface pattem is
indeed an element of the aesthetic of a textile design that will be considered when styling
a design; however, pattem for pattems' sake is worthless. Gombrich (1984, p.l49) argues
that a pattem can be a 'relatively meaningless arrangement of marks' yet can become an
essential component of design if it is married with symbolism, theme, and motif. The
vitality of these three extra variables is reflected in identifiable images or objects which
'have a host of characteristics . . . pasts and futures . . . and have hidden aspects which
emerge under different conditions'. Additional dynamics of yam, colour, form, and style
combine to shape that aesthetic. This is epitomised by current ranges of devore scarves on
sale in high street stores such as Marks and Spencer, which have been created by a mix of
colour, texture, and softness of fibre. These thick, velvet-pile fabrics are composed of
blends of silk and viscose and are decorated with irregular scrolling or geometric pattems
complemented by fuzzy blends of hand-painted colour. Fabrics of this kind provide evidence
against the claim that 'in general textile designers [are] concemed with two-dimensional
designs' (Home and Hann, 1998, p.27). Printed, knitted and woven fabrics are clearly
three-dimensional products. If theories of pattem are to be relevant to designers, then the
effects of adopting these theories upon the three-dimensional stmcture (fabric stability,
drape, softness, fibre properties, and texture) are at least as important as (and are probably
more important than) the two-dimensional surface pattem. (Wells, 1997, Ch. 1). It may,
in fact, prove more fruitful if researchers were to disseminate to the textile design
community, knowledge of the three-dimensional aspects of crystalline structures (Home
and Hann, 1998, p.27). This may have more relevance in contributing to the successful
choice of suitable fibres, yams and fabric stmctures that all textile designers have to make.

3. THE AESTHETIC CONVENTIONS OF TEXTILE DESIGN

Home and Hann (1998, p.45) are successful in their attempt at offering 'fresh insights'
into the developmental nature of pattern. Their theories will aid the exploration of the
visual effects of ordered symmetry, if that is an option that designers believe is profitable
to follow. This is suggested by Gombrich (1984, p.88), who claims that 'the pattern-
maker is always grateful for geometrical guide-lines which he can use for his elaboration'.
It should, however, be made clear that, rather than explaining the nature of textile design.
Woods, and Home and Hann are actually providing a form of geometric guidelines for

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 Moxey

surface pattem. They might claim that they have developed a Science of Geometric Rules
for the Development of Symmetrical Patterns, but modem textile designers are far from
simple 'pattem-makers'. If the textile designer is seen as such, then geometric guidelines
and a basic understanding of colour relationships may be adequate.
In reality, the role of textile designers within the textile industry is complex and successful
textile products are the result of co-operation between individuals drawn from a variety of
disciplines (Bruce and Cooke, 1998, p.10). Successful designers are aware that the
combinatory play of combining basic elements of yam, colour, shape, form, style, theme,
and motif is not enough. Creative output is generated, in line with a series of aesthetic
conventions that are shaped by a climate of fluctuating market conditions and constant
advances in technological innovation (Moxey, 1998; Cuden, 1998, p. 12; Bruce and Cooke,
1998, p. 10). A successful designer will create within this environment, addressing the
limitations of technology and the requirements of the consumer. The interaction between
marketing and design has become more important to success than ever. If it is the goal of
design tutors to educate design graduates who will perform well within an industrial
environment, then it is vital that these graduates are able to study and anticipate market
fluctuations and produce novel and valuable designs. This might mean targeting ranges of
fabrics at specific consumer types, or establishing a product brand based on creative flair
and superior quality of materials (the latter is exemplified by the textiles of Georgina von
Etzdorf (Yusuf, 1998, p.36)).
A science of design should therefore include methods and techniques of meeting these
objectives. Designers might look towards social scientists, marketing practitioners, colour
forecasters, and advertising executives who attempt to understand consumer perceptions
and buyer behaviour. Identification of the mind-sets of consumers has become the holy
grail of the design manager and marketing executive, as much in textiles (with its myriad
of decorative products) as in other industries. A focus on pattern-making has been
overshadowed by a need to understand the realities of consumer choice - a real attempt to
identify the consumer mind-set by analysis of market segmentation, socio-economic
variables, demographic trends, and lifestyle aspirations. The elusive quality of taste is
being analysed, shaped and actively promoted by these professionals. Such attempts at
persuading consumers to change their lifestyles and aspirations tends to support the view
that textile design is more about marketing than about ditransitional isohedral tiling types
(Home and Hann, 1998, p.43).

4. THE STRUGGLE FOR BALANCE

The theories that Woods, and Home and Hann propose focus on the maintenance of pattem
symmetry. The debate over the value of symmetry as a guiding principle has been a long
drawn out affair. The extravagances of the Rococo period and the tendency of artists,
architects and designers to develop asymmetrical compositions was vehemently criticised
as irrational and capricious (Krubsacius, 1759). Some have gone as far as rallying troops
loyal to the principle of symmetry to prevent the spread of asymmetrical evil (Gombrich,
1984, p.24). These attacks seem to be based on the conclusion that asymmetry is a departure
from nature; is merely a profusion of the creative spirit without real meaning or intention
to support its extravagance." These ideas have been countered by arguments that the human
spirit should be allowed to decorate in a way that reflects the 'variety and profusion of
nature' (p.26). Japanese craftsmen of the nineteenth century were no respectors of symmetry
or of a grammar of rules that westem artists and craftsmen were being encouraged to
follow. Late nineteenth century examples of Japanese pottery were 'intentionally deformed.

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Textile Design: A Holistic Perspective

crooked, twisted, or bulging . . . and, nevertheless, in the most refined taste' (pp.56-57).
In fact, the effect of the orient upon design, and specifically the influence of Zen Buddhism,
has been profound (Proud, 1997). Works of art and design that adhere to the underlying
principles of Zen will, by their very nature, follow simple asymmetrical lines.
The relevance for textile designers of adopting a rigid principle of surface pattern
symmetry is limited. In an apparel fabric, for example, a symmetrical surface pattem that
has obediently followed geometric principles is destroyed as soon as it follows the curves
of the human body. The same applies to curtain drapes or upholstery that stretches over
the curves of cushions and armrests. These distortions will increase out of all proportion if
designers introduce yams that contain elastomeric fibres into fabrics. Furthermore, the
proliferation of floral prints over the last two hundred years has meant that designers have
had to consider repeat networks that compliment the fact that 'flowers are exempt from
the demands of tidiness' (Gombrich, 1984, p.l59).
It has been suggested that, rather than fight for the protection of symmetry in decoration,
we should actually advocate long-established principles that decoration should be sufficiently
simple to be taken in by the eye and sufficiently varied to be seen with pleasure (Milizia,
1768). Pattem should embody a compromise between over-indulgence and frivolity of
decoration on the one hand, and the pure logic of functionalism on the other. The two
sides of this spectrum may in fact be seen on the High Street. The bulk of the printed home
fumishing market in the UK appears to be one where decoration is towards a retrospective
yeaming for the past, for cosy, country bowers. (Anon., 1998, Ch. 1). This has been
associated with a need for security (Schoeser, 1986, p. 102) and appears to be a hang-over
from the flourishing of fancies and riots of invention that were originally attacked by
critics such as Pugin (Gombrich, 1984, pp.34-38). At the other end of the spectrum,
retailers such as Habitat sell textile products that embody a form of aesthetic purism where
surface pattem is replaced by surface texture. These products embody simplicity, attention
to fabric stmcture, and a consideration for the quality of materials. Habitat's latest range
of bedding fabrics are decorated sparingly with the simplest of lines, bmsh strokes, or
hand-written free-flowing text. Habitat stylists appear to target a consumer for whom
frivolous use of pattem is an anathema. One may consider whether the product positioning
adopted by Habitat is targeted at an exclusive consumer mind-set, with products that
exemplify 'qualities out of reach for the vulgar and undiscriminating and so they become
the hallmark of true refinement' (Gombrich, 1984, p.3O).
A simple and harmonious pattem can be achieved without the need for a composition
that is based on principles of regular symmetry of shapes or motifs. Decorative artists
should be aware of the concept of balance. It 'is at the root of the sense of proportion'
(Amheim, 1966, pp.218-230) and is 'one of the most elementary manifestations of our
sense of order which tells us what is up and down in relation to gravitation and therefore
to our perceived environment' (Gombrich, 1984, p.l). In The Elements of Colour, Johannes
Itten (1970) argues that to bring about a balance of colour distribution is one of the most
important aims of composition. Asymmetrical compositions will reflect a state of balance
if the physiological weight of colour used within them is carefully managed. These principles
of physiological weight have been explored by Matisse and by Van Gogh. Walther (1990,
p.74), referring to Van Goghs Bedroom in Aries, reports that 'the pulsating forms in the
background, the sign of excitement convey much more the overwhelming surge of his
feelings towards his environment. Yet these emotions are held spell-bound in fixed forms
and are integrated as direct chosen elements of movement in a controlled composition. In
spite of all the flowing unrest, a great balance is dominant'.

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5. GUIDING PRINCIPLES
The history of decoration is pitted with propositions for decorative systems. In the case of
Owen Jones, this takes the form of a Grammar Of Ornament (Jones, 1856). The effect
upon creativity of imposing a system of generative mles is an issue that is often debated.
Woods claims that 'the artist in every designer revolts against what he considers to be the
restrictions imposed on his artistic freedom' (Woods, 1935a, p. 197). This is an over-
simplification. If designers posses personality traits that lead them to question perceived
limitations and 'revolt', then this is an issue that psychologists might consider. It has been
argued elsewhere that artists are freer to break with conventions and produce novel ideas
when the domain within which they work has a looser system of parameters and conventions
(Li, 1997, p. 110). Furthermore, a formal grammar of generative mles within a domain
does not prevent creativity, it just makes it harder to come by. Gombrich (1984, p.73)
claims that 'the logical' system in which a unique place can be assigned to any omamental
motif is doomed to failure'. He argues that classification is the product of the ordering
mind. This is complemented by Ruskin, who objected to the prevalence of the theories of
'tidy minds'; minds that object to irrationality. Irrationality, he felt, was the symptom of
healthy creativity (p.43). These objections were echoed more violently by designers of the
late nineteenth century who claimed that a 'mathematical pattem is a bad pattem . . . let
us rid our minds of the idea that there is any abstract virtue in Art apart from expression.
Expression is the all-in-all of every kind of art, pattems included' (Fmest Chesneau cited
in Gombrich, 1984, p.42).
Design has identifiable characteristics that can be made tangible. It is important to
consider the act of designing as a living phenomenon, the interaction between human
beings (e.g. designer and consumer); attempts at dissecting it should be done in a way that
is sympathetic to the needs of practitioners. Creative textile designers seek to produce
novel solutions to design problems that will be greeted with acceptance by the consumer.
A theory that encompasses the design process must address this and a wide number of
variables, and bring them coherently into focus. The multi-disciplinary nature of the textile
designers role has meant that design tutors are attempting to educate a modem day design
community of renaissance men and women. The textile designer, as part artist, part
technologist, and part social scientist, might then be equipped to meet the ever-increasing
demands for innovation, variety, and consumer satisfaction.

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