A STUDIO-BASED EXPLORATION OF MATERIAL INNOVATION IN HANDLOOM WEAVING

Authors

DOI:

https://doi.org/10.33153/artistic.v7i1.7803

Keywords:

Warp yarn breakages, Studio-based research, Handloom technology, Material innovation, Nylon threads

Abstract

Frequent warp yarn breakages continue to reduce the efficiency of handloom weaving, especially when using traditional spun yarns like cotton and polyester. This study explores the possibility of using nylon threads as unconventional yarns for hand weaving to overcome this issue. A studio-based, practice-led experimental design was employed, using nylon threads, commonly found in non-textile applications, as both warp and weft materials to evaluate their performance under real weaving conditions. The results show that nylon’s high tensile strength and abrasion resistance allowed it to function effectively as warp yarns, preventing breakages during weaving and creating tight, durable fabrics suitable for non-clothing uses such as upholstery and interior textiles. However, its slippery texture affected weft performance, necessitating modifications such as the use of open reeds and adjusted dent densities. The study demonstrates that nylon threads can be successfully adapted for handloom production as tough warp materials, providing an innovative alternative that reduces production inefficiencies. By reinterpreting a non-traditional material through studio-based experimentation, the research contributes to sustainable textile design and underlines the importance of material innovation in advancing modern handloom practices.

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Author Biographies

Edward Apau, Sunyani Technical University

A lecturer at the Department of Visual and Industrial Art, Sunyani Technical University, Sunyani, Ghana and a PhD Candidate in Textile Design Technology at Kwame Nkrumah University of Science and Technology (KNUST). I am a graduate with a B.A. Industrial Art (Textiles) and Master of Fine Arts (MFA) in Textile Design from KNUST, respectively. My research interest focuses on weaving technology, sustainable dyeing, design thinking and innovation, textile surface designs, and printing technology.

Morrison Appiagyei Boadi, Sunyani Technical University

Morrison Appiagyei Boadi is an Assistant Lecturer at the Department of Visual and Industrial Art, Sunyani Technical University, Sunyani, Ghana. He holds a Bachelor of Arts (B.A) in Industrial Art in Textiles, and a Master of Fine Art (MFA) in Textile Design from Kwame Nkrumah University of Science and Technology (KNUST) – Kumasi. His research attention is on indigenous textile production methods, textile design innovation and textile art.

Reindolf Amponsah Monnie, Kwame Nkrumah University of Science and Technology

A chief technician at the Department of Industrial Art, Kwame Nkrumah University of Science and Technology. He is a graduate with a B.A. Industrial Art (Textiles) and with 8 years of working experience. He is interested in weaving, surface designs, digital sublimation printing and sustainable dyeing practices.

Bright Kofi Koseme, Kwame Nkrumah University of Science and Technology

Mr Koseme holds a BSc. Textile Design and Technology. He is a service personnel who served in the Department of Industrial Art, Kwame Nkrumah University of Science and Technology. He is currently in studio-based research in weaving technology, digital sublimation printing and natural dyes extraction.

References

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Figure References

Figure 1. Nylon threads (n.d). Available at: https://www.dreamstime.com/nylon-sewing-threads-needle-isolated-white-background-d-illustration-image219525984 (Accessed: October 20, 2025).

Figure 2. a) Reed, b) Raddle, c) Reed hook, d) Heddling hook, e) Shuttles, f) Drag box, g) Bobbin winder, h) Warping mill, i) Broadloom (2025). Textile Weaving Studio, Department of Industrial Art, Kwame Nkrumah University of Science and Technology. Authors’ studio shot.

Figure 3. a) Warp milling, b) Warp chain, c) Raddling, d) Beaming, e) Heddling, f) Threading, g) Tie-up (2025). Textile Weaving Studio, Department of Industrial Art, Kwame Nkrumah University of Science and Technology. Authors’ studio shot.

Figure 4. Challenges, interventions and outcomes of nylon threads in handloom weaving (2025). Authors’ Construct.

Figure 5. Fabric samples woven with nylon threads, showing a compact and dense structure achieved through effective beat-up motion. [a) Weave 1: Complex twill, b) Weave 2: Plain weave, c) Weave 3: Plain weave, d) Weave 4: Modified Plain weave] (2025). Authors’ studio shot.

Figure 6. Application of nylon thread-woven fabric as a tablecloth, demonstrating its suitability for durable, non-apparel textile products (2025). Authors’ studio shot

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Published

2026-04-01

How to Cite

Apau, E., Boadi, M. A., Monnie, R. A., & Koseme, B. K. (2026). A STUDIO-BASED EXPLORATION OF MATERIAL INNOVATION IN HANDLOOM WEAVING. ARTISTIC : International Journal of Creation and Innovation, 7(1), 57–70. https://doi.org/10.33153/artistic.v7i1.7803

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Articles