The process of designing interior textile products & the influence of Design for the Environment (DfE)

Abstract

This study examined the processes involved in the design of interior textile products, with emphasis upon processes undertaken by designers' who are committed to a Design for the Environment (DfE) orientation. Handfield et al. (IEEE TEM 48:189-208, 2001) model of product design and development provided a context by which to explore inclusion of environmental performance criteria within the design process. Data were collected through interviews with twelve professional designers of interior textile products. Analyses revealed six themes or stages in the design process for interior textile products: resources and research, consumer need and trend identification, inspiration, creative exploration, product samples, and design completion. DfE-oriented designers and conventional designers did not differ in their narratives regarding design process however, the focus and scope of decision-making within each theme or stage allowed for an additional component to the DfE-oriented design and development process of interior textile products.

Method Of Designing Ornaments On Karawo Textiles In Gorontalo

“…He identifies various requests of the users to develop the basic concept for his designs. This step is similar to the customer need and trend identification step (Calamari and Hyllegard, 2015); problem identification (Lamb and Kallal, 1992); recognition of need (McCrory, 1996); and problem identification (Braha and Maimom, 1997), in which all of them insisted on the users need than the will or creativity of the designer in developing his design concept.…”

“…The third step is selecting an object for appropriate motifs, which is relevant to the inspiration stage (Calamari and Hyllegard, 2015), the source of inspiration (Lee and Jirousek, 2015) and Malik and Azhar (2015), and preliminary ideas (Lamb and Kallal, 1992). They insisted on the importance of inspiration to create new design character.…”

“…The fourth step is articulating the design which is similar to creative exploration and development (LaBat and Sokolowski, 1999) and creative exploration (Calamari and Hyllegard, 2015), which highlight the strategy of the designers to articulate their ideas and concept to create an appropriate design. The similar activity also happens to karawo designer in transforming his design concepts into visual forms.…”

“…Malik and Azhar (2015) and Calamari and Hyllegard (2015) insist the importance of inspirational sources in the design process of a textile. Inspiration contributes to communicating ideas to create new design character.…”

“…In the field of textiles and Clothing, LaBat and Sokolowski (1999) organize the design process into three phases: problem definition and research, creative exploration and development, and implementation. In the design process for textile products, Calamari and Hyllegard (2015) found six stages of design: resources and research, consumer need and trend identification, inspiration, creative exploration, product samples, and design completion. Lamb and Kallal (1992) proposed a framework for design process by combining three components: functional, expressive, and aesthetic, which implementation was conducted with problem identification, preliminary ideas, design refinement, prototype development, evaluation, and implementation.…”