Fingerprints in Fashion: The influence of hand skill in contemporary technological textile production and embellishment

Abstract

This research is situated in the world of fashion production and will look at the collaborative processes apparent in contemporary textile development and production. Examining the continued influence of hand skill in contemporary textile production and embellishment, it will showcase the current work practice of renowned Italian silk producer Mantero Seta SpA.

The DNA of each fashion brand is, as in human DNA, a unique entity and is often epitomised through the overall aesthetic of a brand or its creative director. Due to accessibility, ease of use and cost effectiveness, fingerprinting as a legitimate tool for identification is still widely used and, even with advances made in DNA technologies, a fingerprint continues to be a unique identification tool (Champod, Lennard, Margot and Stoilovic, 2017).

For the purposes of this research, the ‘fingerprints of fashion’ will be equated to the skilled handcraft practitioners that are employed in the creation of textiles for the fashion industry. The handcraft practitioners are diverse and often difficult to identify, yet this study will demonstrate that they are just as important to the development and progression of the aesthetic of each fashion brand and its creations as the DNA which is embodied in the creative director, head designer or overall brand identity.

As fashion evolves the DNA of each brand remains, but the employees, artisans, craftspeople and technicians are increasingly required to adapt to new processes and modern production procedures in order to maintain momentum and remain relevant in an increasingly fast-paced industry. To gain an intimate understanding of the current role of hand skilled practitioners responsible for creating the fingerprints apparent in fashion production, a research visit to the company Mantero Seta SpA (hereafter referred to as Mantero) was undertaken at the beginning of May 2017. During this visit, a detailed analysis of the current textile development and manufacturing capabilities of the company was undertaken. A series of interviews with directors, various brand managers and those employed as hand skill practitioners within the company were completed and analysed.

Mantero has a client portfolio that includes many global brands, so as an indicator for the industry as a whole they are well placed to offer insight into systems of textile production. New technology is forcing changes within fashion production, this was apparent while visiting Mantero and witnessing their capabilities in digital design and printing, however traditional hand skills are prevalent in current social media driven economies.

Many industries, including fashion and especially its luxury brands, are tapping into the handmade zeitgeist. The emphasis on hand skill is difficult to avoid and is something which the president of the company, Mr Moritz Mantero, claimed is gaining momentum: ‘Attention from our customers for those handmade aspects is growing and growing’ and which Lucia Mantero, his daughter, who is now entrusted to the running of the company with her brother Franco, elaborated on, ‘in recent years we have had the request from more and more clients to design by hand.’ Technology is allowing the mimicry of hand skill, but the great paradox is that many of the global fashion houses who are clients of Mantero want to highlight their use of the hand skill involved in the production of their products.

The prefixes of ‘handcrafted’ and ‘artisanal’ are frequently employed in the promotion of an array of products. These range from cars and beer to food and clothing. The perception of many hours of laborious handiwork is something which can be used to influence consumers, but how genuine a reflection of the skilled work that goes into these products is the use of these words?