Browsing by Author "Valle Noronha, Julia"

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    Art of Research 2023
    (Aalto University, 2023) Laakso, Harri; Pantouvaki, Sofia; Valle Noronha, Julia; Krokfors, Karin; Helke, Susanna; Falin, Priska; Arkkitehtuurin laitos; Department of Architecture; Elokuvataiteen ja lavastustaiteen laitos; Department of Film, Television and Scenography; Muotoilun laitos; Department of Design; Taiteen ja median laitos; Department of Art and Media; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
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    Author suits: From contemporary art jewellery to fashion design
    (2022) Furlan, Francesco; Valle Noronha, Julia; Leppisaari, Anna-Mari; muo; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture; Salolainen, Maarit
    This Master’s Thesis explores the possibilities of materiality in fashion design, by contaminating menswear tailoring with contemporary jewellery.With a written text and an artistic component of two menswear looks, this work intends to understand how a fashion practitioner can produce garments with additional meaning. The input of this research came from personal impressions of fashion production’s state, and the curiosity towards the general inattention to craft and textile design in clothes. Nowadays clothes are conceived as immaterial, their value is lessened and their consumption is more erratic, devaluing garment-making: this work seeks to rediscover the value that materiality and craft confer to fashion design. Material appreciation is pivotal in traditional jewellery to determine the value of its products, whereas in contemporary jewellery materials are a channel to convey personal visions and ideas. Contemporary jewellery is a form of jewellery design that conceives jewel-making like creating a piece of art: it places into criticality jewellery’s archetypes to generate thoughtful and unique pieces.With an analysis of this discipline it was possible to understand how a fashion practitioner could enrich their projects and create clothes with more meaning. Menswear tailoring was the chosen context for two reasons: suits have not changed for the last two hundred years and they are constructed to magnify their wearer, a common characteristic with conventional jewels. Furthermore, traditionally suits make a spare use of expressive textiles.Textile design for fashion was applied as a tool to express critical thinking: to appreciate fashion’s materials led to appreciate textile making. Literature review and design practice informed one another to carry out this research.With the applied method of Heuristic Inquiry, found written notions could tackle previous knowledge to decide design directives that moved towards the scope.Vice versa, design practice could expand the found information. Personal experience, impressions and intuition, along with literature, brought to two fabrics for two suits, and their accessories. Through a practitioner’s point of view, this was an effective experiment: by applying contemporary jewellery’s archetypes in fashion design and considering textile design as tools for artistic expression, it was possible to add value to my production, which can be identified with artistic thinking and material appreciation. The outcome of this research helps to understand that, by focusing on designing their own materials, fashion designers can place in discussion current fashion staples and help the discipline to enrich with new meanings.
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    The body within the clothes
    (2017-11-28) Valle Noronha, Julia; Department of Design
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    Cold wash, drip dry – do not wring
    (2023) Valle Noronha, Julia; Department of Design; Department of Design; Bergström, Martin
    When I dropped my bags in my first (shared) address in Helsinki, I couldn’t help but feel at home . It took me a good long while to get a hold of the source of that feeling, which didn’t entirely refer to memories of lived experiences collected from spaces I – and many others – have called home. I spent most of the time in the kitchen, where at a single glance, I could find a beautiful collision of printed textiles and ceramics from a timeframe slightly shorter than the one this exhibition attends to. They didn’t necessarily match (in a conservative sense of the word) but surfaced great correspondence with each other. At times critical, at times funny, at times calm - at home, we do need it all. It was possibly this sense of being strangely harmonious that was the source of my feeling. The title of this text tries to evoke this experience - complex, caring and beyond visual perception. Textile art and design hold a place of unique and self-standing importance in the Finnish context, praised internationallyfrom as early as the 1900s. Similar to glass and ceramics in their approaches, Finnish textiles enmeshed visual arts and handcrafts, bringing expressive non-figurative prints executed through applied arts processes (Korvenmaa 2014: 259). Though largely exhibited in (or commissioned by) galleries, museums and public spaces, Finnish printed textiles have a natural place in the domestic space. From DIY ryijy rug kits to curtains and bed linen with bold prints, the long and intimate engagement may be precisely what elevates them from ordinary objects to ones of remembrance and permanence. Much has shifted in the Finnish arts and design environment from the post-war flourishing through the highly successful 1980s and the post-Soviet recession in the 1990s (Pietarinen 2012). Working on their own terms, the Finnish contemporary designers showcased in this exhibition are a complement to this history and its practices. While a heightened sense of quality and blurred limits between visual and applied arts remain clear in their work, they also challenge this heritage by adding notions that critically and intimately speak to their (and our) time. Klaus Haapaniemi’s designs are an ode to Nordic nature and Finnish folklore in a uniquely intricate visual language that knows no geographical barriers. The art-design boundary is truly dissolved in Daniel Pallilo’s work, critically discussing sculptural forms and humour in soft materials. Reeta Ek makes visible the body of the designer-artist in brushstrokes and offers a novel take on timeless abstract expression in mixed-media processes. The work of Tuuli-Tytti Koivula takes us back again to the domestic space but likely not your regular home – where hand-painted familiar motifs are reorganized and adorn garments in unexpected forms and ways. This short text is an invitation to share attention to how the textiles we wear on our bodies and with our homes can affect how we feel. It is also a reminder of the lives of textiles, often longer than our own, and how cold washing and drip drying can take us back and forward in time. References: Pietarinen, Heidi (2012) Internationalizing Finnish Textile Art. In Hohti, Paula (ed.) Boundless Design. Perspectives on Finnish Applied Arts. Helsinki: Avain. Korvenmaa, Pekka (2014) Finnish Design. A concise history. Helsinki: Aalto ARTS Books & London: Victoria and Albert Museum.
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    Design probes applied as fashion design probes
    (2023) Valle Noronha, Julia; Niinimäki, Kirsi; Department of Design; Department of Design; Fletcher, Kate; Grimstad Klepp, Ingun
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    Disrupting Expectations: The case of an experimental pattern cutting workshop
    (2018) Valle Noronha, Julia; Assis, Julia; Department of Design; Universidade do Estado de Minas Gerais
    This article investigates an experimental pattern cutting workshop. In the workshop, participants are invited to explore personal experiences as the informant to a research-based process. The produced outcomes present experimental design approaches, open to successful encounters but also to failure, chance and disruptions. The interpretation of collected data brings forth understanding of the roles played by expectations in pattern cutting activity.
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    Estonian Blues: Natural dyes as enhancers of environmental, intergenerational and heritage bonds in Fashion Design education
    (Intellect, 2024-04-17) Valle Noronha, Julia; Puppart, Piret; Department of Design; Estonian Academy of Arts
    This article investigates cultural sustainability through the case of the Ethno course, offered to students in the fashion design programme at the Estonian Academy of Arts. It discusses ways to enhance bonds with the environment, heritage and traditional knowledge in fashion design. Via narratives of traditional crafts and situated learning in a textile archive, the course focuses on contemporary craft applications within the various practices that compose fashion, with particular attention to local natural dyes. In this work, we discuss the structure of the course in one of its recent iterations focusing on blue-coloured pigments, its outcomes and possible implications to the field of fashion design practice and education. The findings build on both the final presented outcomes as well as students’ feedback analysed via open coding. The resulting works raise interest in a holistic approach to design concepts, reconnecting the students with nature and strengthening bonds with previous generations. They suggest that through historical narratives and hands-on engagement with nature, students developed a heightened awareness of personal and local heritage, as well as the natural environment of Estonia. In conclusion, the work discusses how this offering adds to the course’s legacy and looks into future developments in articulation with its present applications.
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    Failed Expectations, Successful Disruptions
    (TAYLOR & FRANCIS, 2020-09-01) Valle Noronha, Julia; Chun, Namkyu; Assis, Julia; Department of Design; Universidade do Estado de Minas Gerais
    This article studies an experimental pattern-cutting workshop part of a series of extension courses offered by a Brazilian University. It addresses ways in which to develop student-centred approaches to learning, highlighting the situatedness of the practitioner. In the workshop, the participants were invited to explore personal experiences as informants to their creative pattern-cutting process. The design outcomes show that experimental exercises are open to new successful encounters but also to failure, chance and disruptions. The activity is described and investigated from a participant observation viewpoint in terms of what an experimental approach to learning pattern-cutting may offer fashion design education. The results contribute to understand the roles of expectations in pattern-cutting activities, and challenges the teacher-orientation paradigm in fashion. Through these findings, the study adds to previous academic endeavours in creative pattern-cutting and fashion design education. The article concludes with a discussion on future directions for both education and practice.
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    Fashion Matters
    (2020-11) Valle Noronha, Julia; Department of Design
    This work seeks to explore and expand the notion of material agency in practice-based and applied ethnography fashion studies. It is carried through a literature review of publications in the field, including foundational literature in fashion theory and more recent publications in journals and doctoral dissertations, following a tabular comparison analysis. The findings of the study point out to new spaces of investigation, and how can the field of fashion studies benefit from a broader and less human-centred approach. This work is grounded especially on theories of affect, theories of more than human agency, and their applications to the field of design and fashion.
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    The intervened wardrobe
    (2018-05-23) Valle Noronha, Julia; Wilde, Danielle; Department of Design; University of Southern Denmark
    The fashion industry is permeated by overconsumption. Mass production, low prices and speed of turnover of trends lead consumers to perceive clothes as disposable objects. The resulting throwaway culture adds to the already problematic environmental impact of the fashion industry. To shift this state of affairs, we propose wardrobe interventions, a method that uses experimental design practices to collect insights and promote more active engagements between wearers and worn by leveraging the notion of material agency. We describe two projects used to develop and verify the method, to demonstrate how foregrounding the agency of clothes can enhance values embedded in wearer-worn relationships, and potentially shift consumer actions.
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    Iron While Still Damp
    (Nordic Design Research, 2019-05) Valle Noronha, Julia; Valle Noronha, Marina; Department of Design; Department of Art
    This exploratory paper looks into the relationship between people and the things they wear through the lenses of care and domestic labour. More specifically it addresses the practice of ironing and what it can offer to such relationships. The work collects data from wearers via deployed kits—containing a shirt and a diary—and a group discussion on the wearer-worn engagements. The results show that while little academic focus is given to domestic labour, ironing emerges as a practice that can share understanding of what lies behind the visuality of garments. It suggests that designers and researchers invest in further exploring the practice of ironing as a valuable space for design.
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    Moda autoral: pela compreensão de um modo de fazer (roupas)
    (Universidade Federal de Goiás, Faculdade de Artes Visuais, 2017) Valle Noronha, Julia; Muotoilun laitos
    This conceptual paper intends to start the delineation of a re-conceptualization of the term “authorial fashion”. The term is broadly used in Portuguese (as ‘moda de autor’ or ‘moda autoral’) and Spanish (as ‘ropa de autor’ or ‘indumentária de autor’) languages but has not yet been clearly delineated or explored in academic literature. The quest for a fuller understanding arises from a personal interest in defining the work of authorial fashion creators, where lies my own production, and aims at strenghtening the image of this particular mode of making. The term will be investigated here through the analysis of academic and journalistic texts that develop this specific mode of making, as an specimen of this creative universe in fashion.
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    Notes on wearer–worn attachments: Learning to wear
    (2018) Valle Noronha, Julia; Niinimäki, Kirsi; Kujala, Sari; Department of Design; Professor of Practice Kauppinen Marjo; Department of Computer Science
    Previous literature in person-product attachment has identified factors in long-term relationships responsible for the strengthening of bonds between users and products, stimulating longevity in use. Interested in further understanding the matter in the realm of fashion, this study investigates how relationships between individuals and the clothes they wear evolve over time. It identifies motivators behind the increase and decrease in the overall quality of wearer-worn relationships in regards to four dimensions: comfort, frequency of use, visuality and versatility. In order to achieve this aim, an adaptation of the UX curve method is used. The method was employed with a group of ten participants, wearers of specific clothing production, namely experimental-fashion, in contrast with commercial-fashion pieces. The study findings contribute to the literature on person-product attachment and highlight ‘learning to wear’ as an engaging experience encouraging stronger relations with clothes. In the discussion, thearticle proposes future endeavours to understand wearing practices aiming at more engaging designs.
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    On the agency of clothes
    (2017-03-21) Valle Noronha, Julia; Department of Design
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    A partilha da moda através de um olhar centrado no uso
    (2018-08) Valle Noronha, Julia; Muotoilun laitos
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    Peace of practitioner’s mind: Exploring the meditative qualities of needlework in fashion design through autoethnographic research
    (2023) Ermakova, Valeriya; Korolainen, Hanna-Kaisa; muo; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture; Valle Noronha, Julia
    This Master's thesis examines the practice of handicraft within fashion design, focusing on its meditative qualities. By adopting a practice-led artistic research with autoethnography as its primary methodology, the study aims to reveal the personal experiences and reflections of engaging in handicraft as a creative practice. The necessity for this study stems from the negative effects of fast fashion on the practitioners, associated with demanding timelines and ever-changing trends. The emphasis on quantity and neglect of healthy rou-tines can lead to high levels of stress, anxiety, and burnout, compromising mental well-being of the practitioners. Embracing slow fashion practices and mindful design processes may promote creativity and well-being. My personal struggles with mental issues while practicing fashion design further emphasize my need to answer the question: “How can handicraft enhance well-being in fashion design practice?” The thesis consists of two parts: a written component and a productive component. Through the literature review on the healing agencies of handicraft, the written component investigates how needlework can provide a meditative state of mind, tranquility, concentration, self-awareness, and self-reflection. Through my individual experiences, the study examines the connections between craft, creativity, and the inner state of being. It explores the transformative potential of engaging in needlework, highlighting the interplay between the tactile act of crafting and its impact on the mind. By relying on textual and photographic logs and observations, I reflect on my own experiences of engaging in needlework by documenting personal narratives. The productive part of the thesis centers in the meditative fashion approach highlighting its healing processes. By interlacing aluminum wire and jute threads, I produce handwoven pieces, that represent the combination of meditative qualities of needlework and artistic expression. Relying on my personal tactile experiences and intuitive design processes, I create a collection of fashion objects that come together to form a single ensemble. The primary context in which I engage in my needlework is the tranquility of the forest, that serves both as a source of additional calmness as well as an inspiration during my creative process. Consequently, the single outfit, comprising a bodice, a hat, a purse, and a pair of sandals, all sharing the same needlework technique, materials, and color, serves as a practical outcome of this research, showcasing the ability to translate the meditative experiences into tangible garments. The findings of this research contribute to a deeper understanding of the transformative potential of needlework in fashion design. Furthermore, the study offers a framework for design practitioners to engage in meditative handicraft practice. By shedding light on the meditative qualities embedded within this creative practice, the study offers new paths for artistic expression and holistic well-being within the realm of fashion design.
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    Practice-based research in fashion
    (2018) Valle Noronha, Julia; Chun, Namkyu; Department of Design
    This paper looks into the academic production in fashion within a practice-based enquiry. It reviews four selected journals, with international recognition, with fashion practice in their scope of interest. To conduct this investigation, publications are systematically evaluated. The study indicates prominences and gaps in the field and concludes with remarks on the future of practice-based research in fashion.
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    Shared Authorship in Research through Art, Design, and Craft
    (Aalto University School of Arts, Design and Architecture, 2021-05-25) Vega, Luis; Aktas, Bilge; Latva-Somppi, Riikka; Falin, Priska; Valle Noronha, Julia; Empirica; Department of Design
    Conducting research through creative and artistic practices is becoming an established approach used to advance knowledge in various domains of the Arts. Although this approach tends to highlight the voice of the author through the first-person singular, practitioner-researchers working in the fields of art, design, and craft often involve other stakeholders in their practices, such as lay people, workshop participants, workshop co-organizers, other practitioners, and other informants. In some cases, these stakeholders can be said to attain the status of co-authors since their contribution not only informs the development of the practice but also influences the direction of the research. In this paper, we examine what other voices contribute to the production of knowledge through not always accounted forms of authorship. By discussing the inclusion of various stakeholders as co-authors at different stages of the investigative process, we explore the spectrum of shared authorship in research through art, design, and craft. The discussion draws on five research cases conducted by the authors of this paper. We conclude that examining shared authorship champions the emergence of more inclusive research practices, which not only propel the diversification of distinct ways of knowing but also value their operational role in the generation of new knowledge.
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    Time as a design space
    (2017-10-14) Valle Noronha, Julia; Department of Design