Aarhus School of Architecture // Design School Kolding // Royal Danish Academy

Digital Tools and Textile Printing

Riisberg, Vibeke

Publication date:2007

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Citation for pulished version (APA):Riisberg, V. (2007). Digital Tools and Textile Printing. Paper presented at Dressing Rooms, Oslo, Norway.

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DRESSINGROOMS:CURRENTPERSPECTIVESONFASHIONANDTEXTILESConference14th–16thMay2007,OsloUniversityCollege,NorwayVibekeRiisberg,TextileDesigner,Ph.d,AssociateProfessorDesignskolenKolding,Ågade10,6000Kolding,Denmark+4575301100Dir:+4576355519Mail:vri@dskd.dkDigitalToolsandTextilePrintingResuméDigitalinkjetprintingonfabricisthelatestinventioninthetextileindustryandamajortechnologicalshift,becauseitdoesnotusetemplates.Atpresentinkjetisslowcomparedtoconventionalprinting,butithasotheradvantagese.ghugeflexibility.Digitalprintingopensarangeofnewpossibilitiesinmanufacturingandaestheticexpressionstoindustry,fashionandtextiledesigners.Thispapershortlydescribes,thehistoricalandtechnicaldevelopmentoftextileprinting,andoutlinestheprincipledifferenciesbetweenanalogueanddigitaltechnology.Examplesofproductionandexperimentaldesignprojectsarepresentedanddiscussed.FinallyIarguethatdigitalmediaandinkjetcouldbeusedtofurthermoresustainabletextileproducts.IntroductionPrintingisthemostprevalentmethodofdecoratingfabrics,becauseitisfast,cheapandoffersagreatvarietyofexpressions.Withtheinventionofmechanizedrollerprintingin1783,printedfabricsbecamesomeofthefirstmassproducedgoods.Andduringthe19thcenturytheyplayedanimportanteconomicroleandbecameapivotalpointinthediscourseofornamentintheUK.Printedfabricsalsointroducedfashiontothelowerclasses,andaffectedthereversaltomodernindustrializedconsumersocieties(Forty1986).Machineprintingincreasedspeedandreducedpriceconciderably,butitalsolimitedthesizeofmotifs,numberofcoloursandrepeatpatternsbecamethedominantformofdecoration.Theseindustrialstandardsinterveneddeeplyinthedesignersartisticfreedomandprovokedastrongreaction.MostwellknownarethewritingsofWilliamMorris(1834‐96),whoobjectedtothegenerallowqualityoffabrics,theirpoorcolourfastness,badtechnicalexecutionandthereductionofaestheticpossibilitiesforthedesigner.Furthermorehewasconcernedaboutthesevereconsequencesthetextileindustryhadonsocietyandtheenvironment(MacCarthy1994).Todaythetextileandgarmentindustryisoneofthelargestintheworld,andfashionshiftsmorerapidlythanever.Thisincreasesconsumptionofresourcesandenvironmentalproblems.Chinaandothercountriesareadoptingwestern

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consumerpatterns,thereforeitisimportanttopromotemoresustainableproductionandlookforalternativewaysofconsumption.Inthispaperitisnotmyintentiontoargueforanewutopiaortheabolitionoffashion,butitismyhumbleambitiontopointoutsomeofthepossiblitiesthatdigitalmediaprovideinsolvingsomeoftheproblems.CAD/CAMwasdevelopedinthe1960sinconjunctionwithanalogueprinting(Bunce1999).EversincesoftwareandhardwarehaveimprovedandtodayCAD/CAMarestandardtools.Duringthelastfewyearsdigitalprintingonfabricshasbeenimplemented,butonly1%ofthetotalglobalquantityofprintedtextileswasproducedbythismethodin2004(Mheidle2004).Therefore,analogueprintingisinnowayobsolete,andhenceadiscussionofinkjettechnologymustbeseeninrelationtohigh‐speedconventionalproduction.Analogueprinting Allanalogueprintingisbasedonareproductionprocess,wheretemplates‘carry’themotifandcolour,whicharetransferredtothefabricbydirectcontact.Themakingoftemplatesisaconsiderableinvestmentinmassproduction.Thereforethetechnologicaldevelopmenthasbeendrivenbyasearchformorerationalandeconomicwaysofmanufacturingthem.Anotheraspecthasbeenthedemandforhigherproductionspeed,butthisfactorhasinthelastfewdecadesbeenpushedinthebackgroundinlinewiththemarketsrequestforlesserquantitiesofthesamedesign.Neverthelessspeedisstillarelevantparameterforcomparinganalogueanddigitalprinting,becausethepriceoffabricationdropsremarkableafterthecostofthetemplateshasbeenpaidfor.Duringthesecondhalfofthe20thcenturythetextileandgarmentindustryhasdevelopedintoacomplexglobalbuisnesswithasupplychainconsistingofmanysplitprocesses.Thesystemdemandsholdingofstocksatmanylevels,andthisisthemostriskyandcostlyinthewholeproductionchain(Ross2001).Globalmassproductionmakesitimpossibletocomplementstockswithintheshortintervalofafashionseason.Thereforemostofthegarmentindustrytakesprecautionbymanufacturingplentifulofsupplies.Thisleadstooverproduction,andaconsiderablepartofthegoodsaresoldatreducedpricebytheendoftheseason.Oneaspect,whichcontributestotheuncertaincalculationsofgoods,isthedifficultytopredict,whattheconsumerswant.Asweallknowstereotypetargetgroups,whichfollowaclearlydefinedfashion,donotexistanylonger.Insteadtheconsumerseeksindividualproducts,whichrequiresaflexibleproductionchainandapluralisticfashionsystem.Forthesereasonsconventionalmassproductionhasbecomelessprofitableandnewstrategies,likequickresoponseandmasscustomization,adoptedbypartofthetrade.1Itis

1 Professor Rajan Suri:" Quick Response Manufacturing (QRM) is a companywide strategy to cut lead times in all phases of manufacturing and office operations” (d.9.2.07) http://www.engr.wisc.edu/centers/cqrm/whatisqrm.htm Frank Piller: ”Mass customization refers to a customer co-design process of products and services which meet the needs of each individual customer with regard to certain product features . All operations are performed within a fixed solution space, characterized by stable but still flexible and

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onthisbackgroundthedevelopmentandbiginvestmentsininkjettechnologyshouldbeseen.PrincipledifferenciesbetweenanalogueanddigitalprintingConventionalprintingmachinesrun450‐9000meterspr.hourinfullwidth,whiledigitalprintersatpresentproducebetween10‐300squaremeterspr.hour.Analogueprintingusesonetemplateforeachcolour[spotcolour],andintheprocesofseparatingthecolours,halftonescanbeobtainedbyrasterpoints.Productionpricepr.meterincreasewitheachtemplate,andforthisreasondesignsinmanycoloursrequireaformofstylization.Thisisnotneededindigitalprinting,wherethepricepr.meteristhesamenomatterhowmanycolours.Herethemotifistransfereddirectlyfromasoftwaretothetheprintheads,whichhavenocontacttothesurfaceofthefabric.Anelectricimpulseejectstheinkthroughthemicroscopicnozzelsoftheprinthead,andtinydotsofdifferentcoloursmixonthewhitefabricgeneratingmillonsofshades.Thismethodiscalledprocesscolouranddifferentprintersrunwith4,6,7,8or12standardcolours.Morecoloursextendthegamut,butinspiteofmillionsofshades,therearenuanceswhichcannotbereproduced.Spotcolourprintinghasalargergamut,becauseeachcolourismixedinregardtotheoriginaldesignfromawiderangeofdyes.Digitalprintersrequirespecialinks,whicharemoreexpensiveandexistonlyinalimitedrange.Analogueanddigitalprintingcanbecarriedoutwithpigmentsordifferentgroupsofwaterbaseddyestuffforcellulose‐animalandsyntheticfibers.Afterprintingwaterbaseddyesmustbefixedbysteamordryheat,washedanddryed.Pigmentsonlyneedadryheatprocess,andcanbeprintedonalldifferentfibers.Hencetheyarethemosteconomicandwidelyusedinanalogueprinting.Indigitalprintingpigmentsstillposeproblems,becausetheyeasilyblocktheprintheads.Colourmanagementbetweendigitalsampleprintingandanaloguemassproductionalsogenerateproblems,butnewsoftwaresolutionslikeSTORKUSEEseemspromising.Asofnowinkjetprintingisthemostcleantechnology,becausetheinksareutilizedtoahighdegree,andtherebyminimizingwaterandenergyconsumptionintheaftertreatment.Digitalprinterscanswitchdesignonthefly‐withoutstopingthemachine.Thisisamajoradvantagecomparedtoconventionalprinting,whereeachnewdesignrequiresthemakingoftemplates,tuningofthemachine,adjustmentofthepattern,sampleprintingandcleaningbeforeeachnewdesignandcolourway.Theseprocessesarecostly,timeconsumingandimpacttheenvironmentthroughaconsiderableamountofdyestuffgeneratedaswaste(Cahill1998).Themakingoftemplatesisalsoaburdentotheenvironmentsinceagreatnumberarediscartedaftersampling,becausethepatterndidnotpleasethecustomerstaste.In1997thenumberofdiscarted responsive processes. As a result, the costs associated with customization allow for a price level that does not imply a switch in an upper market segment. (d.9.2.07) http://www.mass-customization.de/glossary.htm#pers

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templateswasashighas42%.2Butdigitalsampleprintingmusthavebroughtdownthenumber.AshorthistoryofinkjetTheearliestexperimentswithelectrostaticinkdropsonpaperwasdonebyNolletin1749,andin1876thefirstinkjetdevicewasconnectedtothetelegraph(Jürgens1999).Duringthe1960sand‐70sinkjetprintersweredevelopedfirstfortypewritersandlatercomputers(Bunce1999).Atthesametimeexperimentsweretakenupbythetextileindustry,andin1975theamericancompanyMillikenstartedmassproductionofcarpetswithinkjettechnology(Dawson1992).JapaneseSeirenCo.Ltd.establishedfabricproductionwithinkjetin1989aspartoftheirSupplyChainManagementconcept.3In1991STORKmarketedthefirstinkjetprinterforsamplingfabrics,andCanon/Kanebopresentedaproductionprinterin1995.Thismachineneversold,becauseofitsprice[700.000USD],highoperatingcostsandunreliabilityinproduction(Cahill1998).Thebreakthroughforinkjetprinterscamein1999attheITMAmachinefairinParis.Sincethentechnologyhasconstantlyimproved,andtheuseofinkjethasincreasedworldwide.InEuropeItalianManteroandSwissJacobSchlaepferhavebeenpioneersindigitalprintingofhigh‐endfashionfabrics.Manterostartedin1999andin200510%oftheproductionwasdonebydigitalprinting(Mantero2005).Since2001JacobSchlaepferhasutilizedinkjetonpaper‐followedbyadryheatprocesstransferingthedecorationtopolyesterfabrics.AlsodesignerslikeIsseyMiyake,JeanPaulGaultier,PiaMyrvoldandJ.R.Campbellhaveembracedthetechnologyatanearlystage–allstartinginthelate‐90s,followedbyPrada,JonathanSaunders,HusseinChalayanogAntonioCuitto.Alsoforthemiddlemarketinkjettechnologyhasprovenprofitable–somegoodexamplesaretheamericanprintserviceBetaManagement[BMT]andJapaneseSeirenViscotec.BetaManagementTeam[BMT]LikeJacobSchlaepferBMTmakeuseofinkjetandtransferprintingonpolyesterfabrics.Thecompanyoffersengineeredmotifsfittedthecuttingorrepeatpatternsonpiecegoods.BMThavedeveloppedabuisnessconcept,whichtheycallZeroInventoryProduction[ZIP].WithZIPthereisnoinvestmentininventories,becausegoodsareprintedonlyondemand(BMT).Theclientsignsacontractforaminimumperiodeofsixmonths,andduringthisperiodheiscommitedtobuy”X”amountoffabricsat8.50$pr.yard.Iftheclientisbuyingmorethan10.000yardspr.month,BMToffertoinstallaninkjetprintsystemonleasingtermsathissite.BMTprovidetrainingofstaff,deliversoftware,

2 Bert van Agen from STORK lecture at the FESPA conference Manchester 28.11.97, source Textile Engineer Joy Boutrup – a participant. 3 ”SCM has three primary goals: Reduce inventory, increase the transaction speed by exchanging data in real-time, and increase sales by implementing customer requirements more efficiently” (POET).

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materialsandmaintaintheprintsystem.Inthiswaythepricepr.yardisreducedto6.50$(Ross2001).

InkjetprintingontransferpaperatBMTHeattransferofmotiftofabricOneofBMT’sclientsisCoolware‐amanufacturerofswimwear,sarongs,shirtsandpants.ThedesignteamatCoolwarecreateallpatternsandmotifsingraphiccomputerprogramslikePhotoshop,IllustratororFreehand.ThedigitalfilesaresenttoaserverontheInternet,whereBMTcandownloadandpreparethedocumentsforproduction.FirstsamplesareprintedandsentbyposttoCoolwareforapproval.Tokeeptheshortestpossibleproductiontimeofoneweek‐theordersmustbeonBMT’sservermondaymorning,approvedbytuesday,fabricsprintedandsentonwensday.Coolwarestarttocutandsewthursdayandnewgoodsarriveintheshopseachmonday.Coolwareisnotobligatedtoaspecificminimumofeachdesign,butcanorderfromafewtoseveralhundredyardsinoneormorecolourways.80%ofthethefabricsaremanufacturedasdigitalprint,whilethelast20%areprintedonconventionalrotarymachines.Thereorganizationtodigitalproductionhasgiventhecompanyextraworkcapital‐previouslyboundininventoriesandaproductiontimeof2‐3months.Thecombinationofinjectedcapitalandanincreaseinsaleshaveresultedina25%augmentationinCoolware’sturnover(Ross2001).Thiscasemakesitclearthatdigitalprintingcanbeareliableproductiontechnologyandalsocost‐effective.ButneitherBMTnorCoolwareseemtobeinterestedin,whatinkjetcanofferinregardtonewaestheticexpressions‐however,thisisinvestigatedbymanydesigners.NewaestheticpossibilitiesSincetherearenotemplatestobemade,designerscan,ataresonableprice,testideasandmanufactureshortruns,eitherataprintserviceorbyinvestinginadigitalprinter.Quiteafewdesignschoolsnowteachdigitalprinting,andinthefollowingafewexamplesfromDesignskolenKoldingarepresented.Theschoolbegantoimplementdigitalprintingin2001,andsincethenthestudentshaveexperimentedwithnewvisualexpressionsinsamples,garmentsandinteriorfabrics.Alsodifferentwaysofdesignthinkinghastakenforme.g.thecombinationofdigitalprintanduserorienteddesign,ideasforcustomization,collaborativeprojects,Internetconceptsandthemergingofhandanddigitalprinting.

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Thecollaborativeproject‐InterruptionontheEdge‐tookplacein2003,andinvolvedthreefashionandthreetextilestudentsin4thyear.Theaimwastomergecuttingtosizewiththree‐dimensionalformanddecorationinthreedifferentgarments.Thegroupchosethetheme‘distortion’,andstartedoutbygatheringinspirationfromtextsandpicturesofmirroringinwater,reflectionsfromglassfacadesandothershinysurfaces.Inthefollowingprocessofsketchingthegroupsplitintwofocusingrespectivelyoncuttinganddecoration.Eachgroupagreedonarotationprocedure,wheredigitalfileswereexchanged.Inthiswaytheybrokeuptheindividualsketchinginordertocreatenewandunexpectedexpressions,andatthesametimeoverridingthepersonal‘ownership’toadesign.Thewholegroupmetregularlyandattheendcollectivelydecidedwhichdesignsshouldbecarriedout.

InterruptionontheEdge.Cuttingtosizeanddecoration

InterruptionontheEdge.Dress‐digitalprintonsilksatinInallthreegarmentsbothdecorationandcutisasymmetrical.Thisfurthersadynamicexpression,emphasizesthesensationofmovementandchallengestheeyetowanderandexplore.Theshinnysilksatin,compositionofcolourandamorphousformssupportthemirroranddistorsiontheme.Thedecorationissubordinatedtheproportionsofthebody,andappearsrestrainedinmanytransparentlayersofgreytones.Thisgathersthecompositiontoacoherentwhole–yetbringingaboutafeelingofdepth.Intheexample,shownhere,adiscreetetensioniscreatedbyaddingfinelinesingreenandred.Thedecoration

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canbeseenasacontinuationofthetextiletraditionformoiréeffectinwovenfabrics‐thesocalled'wateredsilks'–andtheirimitationinprint.Butotherassociationscometominde.g.theanamorphicmotifsofpaintingsfromtherenaissanceandcomtemporaryblureffectofcomputergraphic.Inhisgraduationproject’Sparepartsforfuturehumans’KambizKavkanicommentstheincreasingpossibilitiesofmedicalsciencetore‐designandreplacepartsofthehumanbody.Heisfascinatedbytherelationshipbetweentheartificialandthenatural,andquestionsiftheidealsofbeautywillbetransformed,whenwerebuildthebody.AsafirststepKavkanitookaseriesofdigitalphotographsofhisownnakedbody.NexthetransferedtheimagestothecomputerandmanipulatedtheminPhotoshoptorhythmicalcompositionsofwavystripesandsquares.

KambizKavkani,DesignskolenKoldinggraduationshow2004Herebythenaturalisticmotifswerechangedintoabstractornamentalforms‐butacloselookrevealsthephotographicdetailsofskinandhair.Inthisprocessofrecognitionthedecorationappearssurreal,andourperceptionofornament,bodyandfashionischallenged.InsomeofthegarmentsKambizKavkaniaddedahandprintedreliefeffect.Indoingso,hemergesdigital[machine]andhandprinting,andthusmovesthepreviousboundariesofartsandcraftsaslimitedtotheworkofhand.IdentityPlayisthetitleofBirgitteLevinHansen’sgraduateprojectfrom2004.IncollaborationwithgraphicdesignerKarenKyedshedesignedaninteractivewebsitepresentingavirtualblousecollection.Atthesitecustomerscanparticipatebycombiningdecorativeelementsandansweringaquestionnarie,beforethefinalproductismanufactured.IdentityPlayalsoofferschatrooms,wheretheuserscanmeet,exchangeideasandexploreotherwomenslifestyleuniverse.Thecollectionhasthreedifferentthemes,andelementsfromeachofthemcanbecombinedtoablouseintwolayers.Onelayerishidden,butcanberevealedinasecond‐theideabeeingthatthewomancanshiftidentityaccordigtohermoodorchangeofsituation.

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BirgitteLevinHansenIdentityPlay,websiteinco‐operationwithgraphicdesignerKarenKyed2004Sincetheprojecthasnotbeenconvertedintoreality,onecannotsayiftheuserwouldfindthewebsitestimulating,bewillingtoparticipateinthedesignprocessorbuytheblouses.ButBirgitteLevinHansen’sconceptdemonstratehowinkjettechnology,printondemand,theInternetanddialogwiththeuserscanbecombined.Digitalinkjetprinting­aparadigmeshiftAsitappearsinkjetgivesnewpossibilitiestobothindustryanddesigners.Itisagreatleapforwardthatuniquespecimensaswellasreplicacanbeproducedequally,andthatengineeredmotifsandpatterns‐withoutlimitationsinrepeatsizeornumberofcolours‐canbeprintedwithnoextracost.Thusinkjettechnologynegatesthestandardsandpremisesofindustrializationasrelatedtobothproductionandornament.Digitalprintingrepresentsamajortechnologicalparadigmeshift,anditshouldbeexploredfromwithinitsownspecificpossibilities.Onepersonwhohasclearlyrealizedthis,istheNorwegianartistandfashiondesignerPiaMyrvold.Butbeforelookingathercybercouture‐allowmetoreturntoWilliamMorrisandhisreactiontotheshiftfromhandtomachineprinting.ThereasonforthisexcursionarethesimilaritiesinhisandMyrvold’sobjectionstoconsumption,socialconcernsandpollution.

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PiaMyrvoldincollaborationwithPhilWoodandWinkaDubbeldamMorriswasnotagainstmachinesassuch,buthewascriticaltotheirinfluenceonpeople,theenvironmentandsocietyasawhole.Buthebelieved,thateverymanshouldfindjoyinhiswork,andallthingsmadebeautifullyinagoodlonglastingquality.WilliamMorrisknew,hewasfightingforutopianideals,butinsistedonsettingupanalternativetomassproduction,pollutionandover‐exploitationofresources.ToMorrisornamentwasmuchmorethanfashion,tohimitrepresentedpleasureinlife,personalmemoriesandthelinktohistory.Inhistimetheonlywaytoreachhisidealsandobtainartisticfreedomwasmanufacturingbyhand.OnecanonlyguessifMorriswouldhaveembrasseddigitaltechnologyandperhapsreachedhisgoals.InPiaMyrvold’swritingstherearemanyparalelstoWilliamMorrisandshesurdenlygraspsthefullpotentialofdigitalprinting,customizationandtheenvironmentaladvantagesofthetechnology.ButunlikeMorris‐Myrvolddoesnotseemtogiveanythoughtstotheroleofornament‐soafterpresentingMyrvold’scybercoutureconcept‐Iwillclosethepaperwithafewthoughtsonthisissue.Attheinteractivewebsitecybercoutureonecancreateacustomizeddigitalprinteddress.Thecustomercanplacedifferentmotifsinpremarkedareasanddecideavariationofdresslengthandneckline.Therearecurrentlyfourthemesofdecoration,twobasedonnaturalisticphotographsbyMyrvold.AthirdisamixtureofabstractpatternsdesignedbyKarimRachid,andthefourthislinkedtoaspecialdesignedcomputerprogramdeveloppedincollaborationwithPhil

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WoodandusingimagesbyWinkaDubbeldam.Hereanimatedformscanbefrozenatanygiventimeandsinceprintedonadress.PiaMyrvoldtellsthestoryofhowcybercouturewasconcievedintheexhibitoncataloguefromClothesasPublishing(Myrvold2000).Agroupofwomenasked,ifshewouldliketoproducehergarmentsinKirkenes‐asmallvillageinNorway‐inordertocreatenewjobs.Myrvoldacceptedtomakeaproposal,andcameupwithanideaforahightechnologyworkshop,whichshouldmanufacturegarmentsorderedfromawebsite.Thegarments‐allbeeingoneofakind‐couldbeshippedtocustomersallovertheworld.TheworkshopwastosignacontractoncontinousinformationandideasdevelopedinMyrvold’s’designlaboratory’inParis.Shethinks,thatworkshopslikethiscouldbeapivotalpointforseveralcultureandeducationcentreswhere:”...theproductswouldcreatenowaste,andnoecologicalthreat,andwherepeoplesnaturalabilitiescanbecombinedwithanewpurposeofmediaandtechnology.”Myrvoldcriticizesfashioneditorsandjournalistswhom,shesays,gladlyembracegarmentsproducedin’slavefactories’inAsiaifthegoodshavetherightprice,andsheasks:”howcanwedreamofculturalawarenesswheneventhemostprivilegedpeopleshowremarkableindifferencetochangeorimprovement?”Shealsonotice,thateverydaynewopportunitiesarrivewiththetechnologicaldevelopment:"Isthisrealitynotsupposedtobeusedtobetterwhoweare,andarewenotallresponsibletochangethingsforthebetter?"ThecybercoutureprojectwasneverrealizedinKirkenes,becausetheproposalwasdefeatedbythelocalcouncilofmen,whopreferedtobuildsheepfarmsinstead.AsaresultPiaMyrvoldmadecybercouturepartofherwebsite,andpresenteditattheexhibitionClothesasPublishinginBergen2000.Myrvold’swritingsrecallWilliamMorris’concernsfortheworkerandtheenvironment.AnelaborationonthesesubjectsaretobefoundinthewritingsofVictorMargolin–acontemporarydesigntheorist.Inhisessay"TheExperienceofProducts",hepointsattheimportanceoftherelationbetweenthings,manufacturinganduserexperience.Hearguethatusersatisfactionmustbepartofadiscussionaboutsustainabilityandthelifetimeofproducts.VictorMargolinurgethedesignertoidentifywiththeusersexperiences,theirwantsandneedsinordertocreatesustainableproducts(Margolin2002).Butthismightbecontradictorytothedesignerswishforartisticfreedomandtonewaestheticexperimentsindigitalprinting,whichnecessarilyleadstomoreorlessavant‐gardeexpressions.Experimentsofthiskindareessentialtotherenewaloftheprofessionandtouncoverthepossibilitiesofthetechnologywithoutcommercialrestraints.Butthedevelopmentofanavant‐garde‘digitalaesthetic’mightbeaparadoxindevelopingmoresustainableproductsforamassmarket,wherethe

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normsofconventionchanceslowly.Neithernewaestheticsnorutopianideascansolvetheenvironmentalproblemswearefacing‐hencethereisaneedfordialogbetweendesigner,producerandenduser.ThispaperhavearguedthatthepositiveenvironmentaladvantagesofinkjetcombinedwiththeInternetandotherdigitalmediacanbepartofdevelopingacleanerandmoresustainableproductionofprintedtextiles.Butinordertomakeradicalchangesofconsumerpatterns,weneedmoreknowledgeoftheusersreceptionofornamentandtheirrelationtothingsineverydaylife.Changingconsumerpatternsisahugeissueandcannotbecarriedoutbydesignersorcompaniesalone‐muchwilldependonpoliticsandusasconsumers.Timewillshowifwechoosetoutilizedigitalinkjetprintingasameanstoaccelerateordecelerateconsumption,oriffuturetechnologycansolvetheenvironmentalproblemsinways,wecannotyetimagine.LitteratureBMT:"ProductionSpeedDigitalFabricPrinting,BMT'sBreakthroughTechnology"(29.11.03)http://imi.maine.com/pdf/bmt1.pdfBunceGillian:”CADandtheroleofprintedtextiledesign”CADE99www.tees.ac.uk/cade99/out1.htmlByrneChris:"InkjetPrintingintheTextileIndustry:DrawinguptheBattlelines"2001(d.16.3.05)http://www.digitaltextile.net/CahillVince:"IntroductiontoDigitalPrintingTechnology"1998SGIAJournal(d.1.12.03)http://www.techexchange.com/thelibrary/tchnlgy.pdfDawsonTL:"Jetprinting",Rev.Prog.ColorationVolume221992FortyAdrian:ObjectsofDesire,DesignandSocietysince1750.Thames&Hudson1986InternationalManagementInstitute[IMIEurope]:”EuropeDigitalTextilePrinting–FinallyTakingOff?”2005(d.4.2.07)http://www.imieurope.com/MacCarthyFiona:WilliamMorris,ALifeofOurTimes.FaberandFaber1994MartinC.Jürgens:"PreservationofInkJetHardcopies,1999".(d.28.11.03)http://www.knaw.nl/ecpa/PUBL/InkJ‐300.pdfManteroCarlo:"DigitalPrintingIntegration"(d.13.12.05)http://kridt.dk/conference/Speakers/carlos.pdfMargolinVictor:ThePoliticsofTheArtificial­EssaysonDesignandDesignStudies.TheUniversityofChicagoPress2002MheidleMichael:"IntegratedDigitalSoloutionsforTextilePrinting"InternationalDyer,June2004MorrisWilliam:'ArtandSocialism'(27.12.04)http://www.marxists.org/archive/morris/works/1884/as/as.htmMorrisWilliam:’TheLesserArtsofLife’(27.12.04)http://www.marxists.org/archive/morris/works/tmp/life1.htmMyrvoldPia:Clothesaspublishing,VesterlandskeKunstindustrimuseeum,Bergen2000PillerFrank:(d.8.1.06)http://www.mass‐customization.de/glossary.htm#persPOETAG:(11.1.06)http://www.x‐solutions.poet.com/eu/newsevents/glossar/#SupplyChainManagementSCMRiisbergVibeke:Designogproduktionaftryktetextiler–fraanalogetildigitaleprocesser.Ph.dthesis,ArkitektskoleniÅrhus/DesignskolenKolding,januar2006RossTeri:"BMTProvesZeroInventoryProduction(ZIP)Paradigm"November2001(d.10.6.02)http://www.techexchange.com/thelibrary/ZIP/Zero_Inventory_Production.html.SchenekAnton:“Developmentleapforwardtothehighperformancetextiledigitalprintingsystem”.ITBInternationalTextileBulletin1/2003SenshokuKeizaiShimbunCo.,Ltd.:"Pointstoconcider,Specialfeature:Inkjetprinting"(d.25.7.05)http://textileinfo.com/en/manage/ronten/inkjet/page01.htmlStoreyJoyce:TextilePrinting,Thames&Hudson1974SuriRajan:(d.8.1.06)http://www.engr.wisc.edu/centers/cqrm/whatisqrm.htm