AbstractThe urgency to find alternative fabrics to conventionally produced cotton is increasing as vast amounts of agrochemicals are used and a lot of irrigation is required. In this literature survey the potential of organic cultivation practices to produce highly qualitative hemp fibre, suitable for the Textile industry, was investigated. The definition of a fibre in the textile context as well as of the qualities that are essential for a textile fibre was necessary as a base for the discussion in this thesis. The quality parameters looked at were fineness, strength, length, friction, and colour. The impact of external growth factors and plant development on these quality properties are discussed.

CSR, Corporate Social Responsibility, has become increasingly important in a globalised world where the responsibilities of companies and governments are somewhat blurry. The Textile industry is an industry where long supply chains and raw material production in developing countries are factors adding to the complexity and difficulties of solving ethical issues. Cotton production faces many environmental, social and financial challenges in the value chain. Therefore this case study takes a closer look at five Nordic home textile companies, Ikea, Hemtex, S Group, Moko and Finlayson, and how these companies choose their cotton related CSR tools and communicate their work on this area. These companies are of various sizes and therefore the resources for CSR work are also different, as well as the perceived values for working with CSR.

The main focus of this study are the textile prints created by Astrid Sampe (1909-2002). Her fabrics can tell us more about her than a biography ever could. They can reveal how we experience patterns, why we are attracted to them and how our preferences can evolve over time. This study examines four different patterns, and the thesis aims to define Sampe and her textile prints using three different theories and a formal aesthetic analysis. Modernistic and postmodernism theories are relevant when explaining the period where the fabrics were created and how Sampe's ideas were conceived during her lifetime.

Corporate Social Responsibility (CSR) issues have been received much attention in businessand management practises globally. Jensen & Yeh (2009, 3) state that ?The agenda ofCorporate Social Responsibility (CSR) has emerged as a factor in the process of globalization,and Chinese companies may sometimes feel pushed into this agenda without a clearunderstanding of the rationale behind it?. China?s textile and apparel industry, amanufacturing-based economy with its products bounding up with the consumers worldwide,has been facing enormous pressure to take CSR initiatives, particularly in relation toenvironmental issues and labor standards.

Similar to work of the feminist movement in the seventies, you nowadays can see an increased level of textile art expressions with feminist standpoints. In this thesis I compare two textile artists from each time period. These are Maria Adlercreutz with her composition I hennes ögon bevaras folkets ljus from 1972, and Lisa Anne Auerbach?s exhibition Chicken Strikken from 2012. The aim is to put the two artists in a contemporary context and explore their feministic approaches in the textile field.

This project started with an exploration of geometric shapes and textile materials. It resulted in a chair made out of textile bands with different elasticity. The surface for sitting is flat when the chair is not used, and changes in the moment you sit down and gets a new shape. A piece of furniture that adapts to each individual. The chair emphasizes the important relationship between human and product as the person using it becomes a part of the chair for a moment..

Textile Grid är ett undersökande textildesignprojektsom utforskar olika tekniker och material för atttänja på gränserna i textil. Utgångspunkten ärett enkelt rutmönster som översätts i teknikernatryck, väv och trikå. Rutmönstret fungerar som enkonstruktion i textilen och genom att jobba medkontrasterna mellan hårt och mjukt, samt rörelseoch stabilitet utforskas både textilens utseendeoch rörelse. Resultatet är fem material som viksoch formas efter sin egen konstruktion..

The aim of this essay is to make clear, whether or not, textile research is visualised in a wider archaeological discussion today. The aim is then to discuss what the archaeological and textile technological research situation in Scandinavia looks like today, and how that relate to what has happened in these two research fields during the years. This essay also has a purpose to find out if there is a need of visualising textile research more in future archaeology, how that shall be done, and what that can possibly supply to our general picture of the prehistory.The head questions are discussed in the light of three investigations. The first is a study of literature used in archaeological education at five Swedish universities. The other two consists of a study which is aimed to find out how textile research results are published, and one in which archaeologists and textile researchers have answered questions about how they experience the relation between archaeology and textile research.There has also been done a comparison between interpretations of the archaeological material from the site of Löddeköpinge in west Scania.

The aim of this thesis is to try to make the mathematics content of textile handicraft visible. This is done through an attempt at integrated studies in the two subjects with 6th grade students.The main question is: In what way may integrated studies in mathematics and textile handicraft lead to making the mathematics content of textile handicraft visible to the students? This question has been divided into three sub-questions: 1. What knowledge do students have on the order of the millimeter, centimeter, decimeter and meter units of length?, 2.

Companies in the apparel industry are becoming increasingly responsible with regards to the social and environmental issues related to textile production. Despite these tendencies, there are great insecurities surrounding the concept of CSR and the effects on consumers of CSR communication. There is currently no model for breaking the concept of CSR down into smaller elements, specific for the apparel industry. In the first part of this thesis, we create such a model, applicable in a consumer communication context. In the second part, we investigate the effects on consumer attitudes and intentions of communicating the different elements of CSR presented in the model.

The purpose of this project was to to find a way for textile patternsto talk about its own, and our, inevitable death. By doing so I hopedto incorporate questions about transience into daily life.I assumed that from a decentralized background position, patternson everyday objects have a unique ability to pose complexquestions that can be interpreted over time. The investigation wasinspired by how russian constructivists looked at everyday objectsas equals, and let them carry the spirit of the revolution.In the process I tried to find out how, and if, a philosophicalmessage can be transmitted through design and how differentcomponents of a pattern can work together to express that message.Resulting in two textile patterns with textile motifs, my workshowed that design definitely can raise metaphysical questions andmay as well have an advantage over art when trying to reach peoplein their own reality..

The aim of my thesis is to obtain knowledge of textile wastewater and textile sludge from an environmental perspective, which can be used as a basis for the  ?Sweden Textile Water Initiative? guidelines for a sustainable sludge management. In my study I have mainly focused on textile dyes, salts and metals and their routes during wastewater treatment.This paper is partly a literature review, which I began by identifying the pollutants discharged from each textile process. Then I studied wastewater and sludge quality, environmental aspects, possible treatment and recycling methods. I have also tried to find existing type of guidelines in order to make comparisons.

Organic cotton has been in the medias field of vision for quite some time. This interestalso reflects in a growing awareness in the Textile industry where more and morecompanies today offer organic cotton in their product range. With this in mind wequestion whether organic cotton has become a viable commercial product. We alsoacknowledge there is a lacking of understanding the complex problems that organiccotton manufacture involves, for example the huge effort and cost required for a transitionfrom conventional to organic cotton farming.The purpose of this paper was to study how textile, ecology and competition today arebeing combined by companies. We wanted with our investigation to find out whethercompanies in the Textile industry use ecology as a competitive advantage.

The aim of my thesis is to obtain knowledge of textile wastewater and textile sludge from an environmental perspective, which can be used as a basis for the  ?Sweden Textile Water Initiative? guidelines for a sustainable sludge management. In my study I have mainly focused on textile dyes, salts and metals and their routes during wastewater treatment.This paper is partly a literature review, which I began by identifying the pollutants discharged from each textile process. Then I studied wastewater and sludge quality, environmental aspects, possible treatment and recycling methods. I have also tried to find existing type of guidelines in order to make comparisons.

My project aims to understand more about the methods used in making woven textiles on an industrial level, and how these tech¬niques can be adapted to create object-specific pieces. On visiting the furniture fair in Stockholm, I was surprised to see that most of the textiles used for furniture were so similar, despite the variation in the furniture itself. My project is about creating textile patterns that are specific for each piece.The idea behind the process could be used for any product, but the pattern I created is specifically for the armchair Accent by Yngve Ekström. I wanted to create the feeling of a pattern moving over the surface of the object and adjusting to it. I worked primarily with differences in density.