Talent Talks: Kelly Konings
After receiving a BA in Fashion Design at ArtEZ University of the Arts in Arnhem, Kelly Konings moved to Borås to continue her creative path. A Master’s degree in Textile Design led her to 3D whole-garment weaving.
Kelly Konings - Hybrid Forms of Dressing
Could you please introduce yourself?
My name is Kelly Konings and I have just finished my Master's Degree in textile design, specialising in 3D whole-garment weaving at the University of Borås. Before this, I worked as a fashion designer for different Scandinavian brands, with a Bachelor's Degree in fashion design from the ArtEZ University of the Arts in The Netherlands. Even as a fashion designer, I have always been interested in textiles and choosing high-quality materials.
However, I noticed a lack of information about the technical and qualitative performance of specific textiles and yarns. Most conversations about textiles in fashion were based on pricing and what quantities and colours were available. Not so many conversations were about the difference between a warp and a weft-faced twill! More and more I started to notice the absence of textile design knowledge within fashion design and the declining amount of weaving mills and
Textile-making facilities in my own surroundings. Therefore I decided to explore further into textile making and how textiles and garments relate to one another.
Having graduated recently, how do you look back on your studies?
For me, my studies were about spending as much time as possible in the weaving lab. Learning everything I could about the jacquard looms and other weaving equipment.
Also just by spending time in the weaving lab, at the end of the 2 years, I could hear by the sound of the loom if there was a mistake in the textile or if it missed a weft insert.
It's an incredible luxury to be able to experiment with industrial textile-making processes within the space of a university, as this is just not possible within commercial textile production.
Kelly Konings - Production of the wool coat textile
Could you please tell us something about your graduation collection/project?
My degree project 'HYBRID FORMS OF DRESSING’ is an exploration into rethinking the relationship between textile and fashion systems through whole-garment weaving. Where I’ve created 2D jacquard woven textiles that hold the possibility to be worn as 3D garments. Draped and folded onto the body, these whole-garment woven textiles urge the viewer to rethink the interdependent relationship between a textile and a garment.
Besides the pattern, colour gradients that look like a worn-out effect have been woven into the textile, but also the labelling, stitch details, side seams, collars, sleeves and pockets have been woven directly into the textile. Expressing garment archetypes such as jeans, the knitted sweater, a party dress or a blazer in hybrid forms of dressing. Woven in a mix of deadstock yarns from the Swedish textile industry, such as linen from the damast weaving mill Klässbols and tufting wool, which is normally used for rugs, from Kasthall.
Besides that, also Swedish wool has been used that was collected at farms around Sweden. Proposing a new and holistic way of designing and producing textiles and garments locally.
Kelly Konings - Hybrid Forms of Dressing
Which materials, techniques, programmes and/or applications are you mostly interested in?
I’m mostly interested in jacquard weaving and other weaving techniques to create novel textiles for garments. To me it's important that the materials are from a natural fibre, ruling out the use of polyester and polyester blends or other synthetic fibres that are not biodegradable or need a lot of excess chemical processes. Besides that, I’m also interested in local materials and leftovers or deadstock yarns from other textile-making processes. Looking into local and regenerative ways of making.
Kelly Konings - Hybrid Forms of Dressing
The exhibition you are a part of looks into the meaning of regeneration. What does regeneration mean to you and your work?
Regeneration to me means being critical of the making and production systems we use, but also finding inspiration and being able to think creatively around these making and producing processes.
How do you perceive the meaning and importance of community within the fashion field?
To me, as a textile designer within the field of fashion, I find a sense of community very important. Many textile-making processes are actually inherently based on the strength of a community, with inner workings a bit like a small village. Where everyone has their own strength build-up by practical experience, like a spinner or a weaver.
Kelly Konings - Hybrid Forms of Dressing
NOoF: How do you view the future of fashion? And your own role therein?
I would like to see more material-led design processes, where textile design and textile production don’t merely function as an invisible backbone of the fashion industry but could be considered equal partners within fashion design. My role within this could be seen as a practice that builds a bridge between a 2D textile and a 3D garment.
Kelly Konings - Hybrid Forms of Dressing