The Future is Now
This final section presents creative applications and research fueled by the properties of this humble and ancient technology. Architect Sean Alhquist’s work connects architecture, behavioral sciences, and material research, while Felicia Davis and her team are testing how to create structures that will grow, using unconventional building materials like mycelium. At MIT and the Computer Science Artificial Intelligence Laboratory, Yiyue Luo fuses knitted fabric and electronics to create new, soft robotics.
Fashion designers are also reframing the kinds of stories they wish to tell while representing new and diverse perspectives. Bethany Williams brings together communities otherwise forgotten to create a very different supportive business model. Joseph Agbobly’s joyous hand knits celebrate his homeland and his identity as a Queer, Black immigrant. Joanne Arnett and Archana Mehta transform a knitted gown into a visual chart of the mass shootings in this country between 1999 and 2019.
Checklist
SensoryPlayscape
Sean Ahlquist, University of Michigan
Collaborator: Evgueni Filipov
Team: John Hilla, Yi-Chin Lee, Tracey Weisman, Maria Redoutey
Advisors: Suzy Naguib – Clinical Psychologist – Sprouted Sage, Natalie Schultz-Purves – Ann Arbor Academy, Rachel Updegrove – Architect and Autism Self-Advocate
American, 2023
Polyester, spandex, glass fiber reinforced rods
Courtesy Sean Ahlquist
The SensoryPlayscape project is a part of on-going research led by Prof. Sean Ahlquist to explore the relationship between environment and behavior for children with autism spectrum disorder and others with cognitive and physical developmental disorders. The research is born of Prof. Ahlquist’s experiences with his autistic and non-verbal daughter Ara. A hallmark of autism is often a unique sensorial relationship with the environment. Preferred stimulation can have grand benefits towards social interaction and communication. The SensoryPlayscape offers a sensory-rich environment through which an endless variety of tactile, proprioceptive, and vestibular interactions can take place. Knitting offers the critical ability to integrate variety in the form of shapes, textures, patterns, and elasticity across the scale of an architectural environment. Continued research seeks to understand the benefits of preferred sensory stimulation towards experiences in educational settings and public venues.
MycoKnit: Cultivating Mycelium-based Composites on Knitted Textiles for Large-Scale Biodegradable Architectural Structures
Felecia Davis and team listed below
American, 2023
Courtesy, the MycoKnit Team
Team:
Pennsylvania State University
Department of Architecture
Felecia Davis, PhD
Benay Gürsoy, PhD
Paniz Farrokhsiar
Parachi Masown
Alale Mohseni
Material Science and Engineering
Katy Gerace, PhD
Department of Plant Pathology and
Environmental Microbiology
John Pecchia, PhD
Texas Tech University
Huckabee School of Architecture
Ali Ghazvinian, PhD
Tahmures Ghiyasi
Louisiana State University
College of Art and Design
Farzaneh Oghazian, PhD
North Carolina State University
Wilson College of Textiles
Andre West, PhD
Jenna DeCandio
Drawings and Photograph Legend:
A – Orthographic set
B – Drawings of the flat knits
C – Exploded axonometric and detail drawings
D – Kit of parts
E – Assembly process
All drawings are prepared by Paniz Farrokhsiar.
01 – Fully grown mycelium-based panels, photo credit: Benay Gürsoy
02 – MycoKnit view from the bottom, photo credit: Benay Gürsoy
03-08 – Close up views of MycoKnit panels, photo credit: Patrick Mansell
09 – Electron microscope image of mycelium hyphae and wool yarn, photo credit: Katy Gerace
10 – Applying mycelium-based mixtures, photo credit: Benay Gürsoy
11 – Section cut of a moldy MycoKnit panel, photo credit: Felecia Davis
12 – Mold growth on a MycoKnit panel, photo credit: Felecia Davis
Funding and Support:
The SOM Foundation Research Prize
The Stuckeman Center for Design Computing
Project Statement:
In this research, we aim to explore the use of knitted textiles as framework and reinforcement system to develop fiber composite mycelium-based architectural structures that we call “MycoKnit”. We are testing the Mycoknit system with a large scale 1:1 proof of concept architectural structure that you can see in this exhibition space. Some of this work was developed in the Directed Research Studio program in the Department of Architecture at Pennsylvania State University. Mycelium-based composites and knitted textiles made of natural yarns are both organic systems, and when integrated, can offer a sustainable and biodegradable material and structural system that is strong in both tension and compression. By exploring the interrelated behavior of mycelium-based composites and knitted textiles where the knit is used as a growing base for mycelium materials, our goal is to enable a lightweight and bio-degradable building material and structural system.
What you see in the exhibit is work in progress. Here we show a MycoKnit gridshell structure that integrates bending active elements comprising of fiberglass tent poles and industrial knit panels fabricated on a Shima Seiki Computerized Flatbed Machine. We added living mycelium-based mixtures into the panels that were shaped by the gridshell and gravitational forces (See photos 01-08). However, this first attempt became moldy as you can see in some of our photos (See photos 11-12). We are in the process of reloading this gridshell system with new mycelium-based mixtures and will experiment with some solutions to prevent mold growth. The MycoKnit gridshell structure is lightweight and deployable. It can be easily assembled – disassembled – reassembled (See drawings A-E). The textiles are knitted with 100% undyed wool yarn using an industrial knitting machine. Both the knitted textiles and the mycelium-based composite components of the structure are fully biodegradable. The flexible, hollow fiberglass tent poles, on the other hand, can be reused to fabricate similar forms and easily stored.
Robotic hand “Banana Fingers” Walking robot
Yiyue Luo and Massachusetts Institute of Technology Computer Science and Artificial Intelligence Laboratory (CSAIL)
American, 2022
Polyester
Loan courtesy of Yiyue Luo
This research team is investigating soft robotics, like these knitted “banana fingers.” When filled with air, the fingers are activated to function like a hand, opening and closing the fingers to grip an object. By using conductive yarn, the hand has a built-in sense of touch. Such devices could help users who have experienced hand trauma and have limited mobility. Creating the hands with digital knitting machines, that can be programmed to individual specifications also makes this design available and cost effective.
Keyboard
Irmandy Wicaksono, PhD student and Massachusetts Institute of Technology Computer Science and Artificial Intelligence Laboratory (CSAIL)
American, 2021
Polyester, silver conductive thermochronic yarns, pierzoresistive fabrics, electronic circuits, yarn filling
Loan courtesy of Irmandy Wicaksono, MIT Media Lab,
This keyboard of knitted fabric offers a new way to interact with and create music. It is portable, can be folded, rolled, or even wrapped around your neck like a scarf. This prototype uses digital knitting to create a 5-octive piano. Each key can be plucked, squeezed, twisted, or pushed. Waving the hand over the keyboard (thanks to proximity sensors) also creates sound. This enables performers to experience fabric-based interaction and unique, tactile experience by exploring the seamless texture and materiality of the keyboard.
Flippable No. 4, Dynamic Folding Knits
Victoria Salmon
English, 2020
Cotton, thermoplastic yarns
Courtesy Victoria Salmon
Flippable No.5, Dynamic Folding Knits
Victoria Salmon
English, 2020
Cotton, thermoplastic yarns
Courtesy Victoria Salmon
Cocoon
Victoria Salmon
English, 2020
Cotton, thermoplastic yarns
Courtesy Victoria Salmon
The Cocoon series were also part of Salmon’s research in 2020. Here large pieces of folded knits are seamed together and hung on a wall. Visitors are invited to engage with the entire surface and wrap themselves within the cocoon of the tiled or tessellated (repeated) folds. Salmon observes that textiles are familiar aspects of our everyday lives, most notably through our clothing. However, we don’t play or really interact with the textiles in our world, and Salmon’s research explores the expressions and possibilities of tactile responses through her dynamic, knitted textiles.
Nike ISPA man’s shoe
Nike
American, 2022
Knit upper, no glue
Purchase by exchange, KSUM 2023.3.1a-c
In the recycling process, the most difficult material to break down is glue. It requires time and many chemicals to remove and recycle. That’s why Nike’s team ISPA (Improvise. Scavenge. Adapt. Protect.) took on the task of creating an athletic shoe with no glue. They succeeded with a design that uses as few materials as possible, with the sole and uppers locking together.
Custom shoe
Made +
American, 2022
REPREVEÒ yarn which is made from plastic bottles
Anonymous loan
Made + invites the consumer to create a personalized shoe by making a range of selections for the design. The knitted upper one chooses is knit on demand, so there is no waste or excess inventory. The Made + company focuses on limiting their carbon footprint by having all aspects of manufacturing in the United States and as close to their consumers as possible.
Sweater coat, skirt, and bucket bag
STOLL by Karl Mayer
German, 2016
Coat: wool, cotton, viscose, polyester
Skirt: Viscose, wool, polyamid, polyester
Fashion bucket bag: 2020, reinforced linen, wool, polyamide
Courtesy STOLL by Karl Mayer
Rayon camisole by Calvin Klein, Spring 1989.
Gift of Calvin Klein Archives
KSUM 1998.004.0056
The bag was knitted as one piece beginning with the bottom. Using the STOLL weave-in technique and tuck stitches, the look of a woven is created by knitting.
No Comfort
Joanne Arnett and Archana Mehta
American, 2019
Cotton, cotton with 2% spandex, embroidery thread
Purchase by exchange, KSUM 2020.11.1
This dress is a graph of mass shootings* in the U.S. starting with the Columbine Massacre in 1999 until April 2021 when the garment was first exhibited at the KSU Museum. Each raised row marks a shooting, and each death is marked by ten stitches, creating bands that wrap around the body. School shootings are further represented by bows in that school’s colors and each bow represents a life lost. The garment consumes the wearer, spilling onto the ground, conveying the overwhelming sense of powerlessness felt in the fight to change the laws and systems that allow these events to occur. Since 2020, guns are the number one cause of child death in the United States.
*five or more victims.
Vest and trousers from All Our Stories Collection
Bethany Williams
British, Spring/Summer 2022
Purchase by exchange
KSUM 2023.22.1 ab
Bethany Williams has developed a unique and impactful way to combine her interests in art and fashion with social and environmental issues. A true collaborator, Williams engages many partners with the goal of creating a fashion industry that is sustainable and responsive.
“All Our Stories,” began with artist Melissy Kitty Jarram, who led workshops with families from the Magpie Project. Magpie supports women and children who are homeless or at risk of homelessness. Ms. Jarram collected stories from the generational families and then drew illustrations to retell the stories. These become the inspiration of the garment designs.
The silhouette for the garments is inspired by the Victoria and Albert Museum’s Childhood garment archives: particularly a child’s skeleton suit from the 1800s that was designed for play.
The pieces are made via what Ms. Williams calls “social manufacturing partners.” She used donations of merino wool deadstock from Lanificio Ermenegildo Zegna that was printed with eco-friendly inks. She also partnered with Alice Morell Evans to use Seisa Wool industry waste swatch samples. Then through her collaborators, Mending For Good, Williams worked with Manusa, a social cooperative that engages people from many different backgrounds who specialize in hand work, including knitting. Once the garments are completed, the Magpie families are the models for the completed collection.
Oversized sweater from Togo Vivi Na: A Roadmap Collection
Jacques Agbobly
American, 2023
Merino lambswool
Purchase by exchange
KSUM 2023.24.1
Born in Togo, West Africa and raised in Chicago, Jacques Agbobly launched their studio in 2020 under the name Black Boy Knits. Recently they changed the brand to simply Agbobly. The designer champions Black, queer, and immigrant experiences as expressed through their custom and ready-to-wear knitwear and garments. This hand knit sweater is from his recent collection, “Togo Vivi na: a Roadmap,” (Life is so Good in Togo) inspired by childhood memories. The cable knits (twisted knits) are reminiscent of hair in cornrows, the exuberant color recalling childhood play, candies, and FanYogo, a favorite yogurt treat.
Melon handbag
STOLL by Karl Mayer
German, 2023
Polyester blend
Courtesy STOLL by Karl Mayer
Pussy hat
American, January 2021
Wool
Anonymous loan
On January 21, 2017, women’s marches were held around the globe to support gender equality, civil rights, and other issues that were expected to face challenges under the newly inaugurated U.S. President Donald Trump. The symbol of the event, the pink knit hat, stood for solidarity in raising awareness of women’s issues and advancing human rights.
Bra prototype, version #3
Krissi Riewe Stevenson
American, 2023
Silk, spandex, cotton yarns, embedded with metal underwire channel, polyester/spandex straps, bead and ribbon trim, hook & eye closure. Knit in the KSU KnitLAB
Courtesy Krissi Riewe Stevenson.
This research project investigates how 3D knitting technology can result in sustainable production and enhanced comfort and fit. Traditional bras are made of many pieces and leave textile waste. The seamless design of this bra along with the combination of fibers provides more precise compression and comfortable support.
Anasesem
Maame Amoah (’20)
American, 2019
Silk
Loan courtesy Maame Amoah
As a child, Maame Amoah loved the charming tales of Ananse, the beloved folk character of the Asante people of Ghana. This ensemble is inspired by the folklore of Ananse, the spider. Ananse “spun” many enchanting stories that remain a rich part of Amoah’s childhood memories. The jacquard design of the coat captures the wild tales of the spider, and the dress was knit to express Ananse’s spider webs and her mesmerizing hold on many generations of the Asante. This ensemble was knit in the KSU KnitLAB while Amoah was a fashion design student.
Scarf, hat, sweater and pants
Dion Lee, Knitwear Lab
Dutch, 2022
Sweater in mercerized cotton; Scarf in extra fine merino wool
Courtesy Knitwear Lab, the Netherlands
The unisex sweater design uses pointelles and ladders to create a textile that conceals and reveals the skin through the open pattern.
Dress
Di Petsa, Knitwear Lab
Dutch, 2023
Organic cotton, acetate, polyester, nylon
Courtesy Knitwear Lab, the Netherlands
Tube top and pants
Di Petsa, Knitwear Lab
Dutch, 2023
Organic cotton, acetate, polyester, nylon
Courtesy Knitwear Lab, the Netherlands
Thijs Verhaar is the Founder of Knitwear Lab in The Netherlands. With over 30 years of experience in industrial knitting, he has created an innovative space where collaborators come together and partner on research, virtual design, technical and smart knits, and enhancing recycling practices.
Interactive model of the needles in a knitting machine
Wood, acrylic
Designed and built by Linda Ohrn-McDaniel and Tom McDaniel
Courtesy Linda Ohrn-McDaniel and Tom McDaniel
To create a machine knitted fabric, each stitch is held on its own needle. Machine knit needles look like these needles with a latch. The latch helps hold the stitch in the needle or slide the stitch over the needle to create a basic knit stitch.
Knitting Beyond the Body 