Project Launch ~ Patterns of Identity, Textiles in Aotearoa, New Zealand

This web site marks the first few steps in what will be an extensive project concerned with the history and documentation of textile design and production in NZ. The complete project will include a data base accessible through this website, which will include more detailed information about NZ textiles and more analytical material in what is best described as a virtual archive.

The English digital theorist Sadie Plant has written about the parallels between digital practices and the making of textiles. In fact Plant cites the mechanised loom, with its punched pattern cards, as being the first step - predating Babbage - to the development of computers.

The development of an online archive - like the making of textiles - is a process of weaving together, of adding on to. This project is both complex and ambitious in that it involves more traditional content research (about designers and artists, their work, influences, techniques used etc) with broader contextual research and analysis. The additional stage of processing and structuring this information into an online archive is both conceptually and technically challenging. We become spinners and weavers of knowledge.

In realising this first stage we are particularly grateful to Bruce McAneaney sales manager of TA Macalister Ltd, - who represent Dylon Dyes in NZ, - for his support in arranging the sponsorship agreement, to Jan Power, of Cause and Effect Ltd, for all her help - in relation to providing information and in the promotion of the project, and to Jock O'Connor from Cause and Effect Ltd, who had the bright idea of introducing the project to Dylon and promoting the value of such a project in marketing the Dylon name. This project has gained quite a reputation for us around AUT in getting started through external sponsorship rather than internal funding. We are extremely grateful for the confidence and support our sponsors have given us.

Another notable feature of textile production is that traditionally it has been a collaborative practice. Correspondingly, digital archiving projects require collaboration in multi disciplinary research teams. The support of the Auckland Museum, particularly of curators Angela Lassig and Louis Le Vaillant has added specialist expertise and valuable advice to this project. In the near future we will be working more closely in linking some of the Museums textile collection to the archive. A special thanks also to David Merritt technical manager of the NZ Graphic Design Archive (NZGDA - another School of Art and Design AUT Digital Archive project), to Paul Probine, computer technician in the School, MA student Brenda Ng, and the many other staff and students who have assisted and supported us.

Within New Zealand, while there are some notable specialist textiles researchers - especially in areas of traditional Maori textiles - there is a lack of historical, contextual and theoretical studies in relation to textile arts. The lack of any significant research on the remarkable textile designs of internationally famous NZ artists like Frances Hodgkins or Louise Henderson clearly demonstrates the historic marginalisation and neglect of Textile Arts. Institutions like the Auckland Museum have significant textile collections. But textiles are notoriously difficult to store, and to display.

The development of a digital archive where students, teachers, designers, artists and interested members of the public can locate, view and find out about this work gives an important avenue of access, which, while never replacing the real life experience of seeing or touching material, gives a lot more to our audience than remarkable things sitting in draws and cupboards, be they in a collectors home or a museum store. Also. Unlike a book or publication we can keep building onto this knowledge base - both through our own ongoing research and through the involvement of other interested groups and experts.

Major teaching Institutions like AUT have traditionally focussed on practical, applied skills. The recent introduction of degrees and post-graduate study in these areas has highlighted the need for more extensive historical knowledge, for staff development in research and for a better understanding and articulation of local conditions and practices. Our research team involves experienced textile practitioners and educators, specialist curators and researchers with differing levels of experience - but all with a strong commitment to textile arts, to the remarkable creativity, ingenuity and determination of generations of NZ textile artists and designers, and to this project. Working as a team, we collectively bring content knowledge, extensive professional contacts, research, curatorial and publishing experience, project management, digital publishing and archiving skills to the project. In this situation more experienced researchers are mentoring less experienced, practitioners are contributing detailed technical and professional insights, and developing new skills in academic research and writing.

The five project areas we are currently working on (Profiles, Maori, Pacific, Education and Community) reflect the special interests and expertise of members of the original research team. We are developing other collaborative links - with individuals and institutions and welcome the opportunity to discuss and investigate potential research collaborations in relation to this project. In addition to the content development another parallel investigation is taking place (in association with the New Zealand Graphic Design Archive) concerned with the development of relational image databases, image analysis and indexing systems, data mapping methodologies and the educational and research potential of virtual archives. Such processes are important in the development of AUT with its traditional areas of technical skills based teaching and the development of knowledge and new methods of communicating it through research and technology.

The potential and necessity of such an institution to establish academic recognition and new knowledge in traditional areas of practical expertise through associated research, while maintaining strong ties with industry and the wider community is recognised as being fundamental to this project. The recent international successes of the New Zealand fashion industry, the vibrancy of emergent Pacifica fashion and the high profile of established cultural and tourist events like the Wearable Art Awards indicate the potential and quality of textile practitioners in this country.

Contextual research emphasising the cultural, community and economic significance of textile practices reveals much that is unique and gives insight into issues of national and local identity; While the industry in NZ has waxed and waned, there have been a number of small companies and individual designers who have produced, and continue to produce a range of unique textile products that are of historical or contemporary significance. With our Maori Foundations, English Colonial influences, the proximity of Polynesian and Melanesian textile traditions and with more recent immigration from around the world, the work produced locally has been and is distinctive, reflecting diverse contexts and influences. Our project is named 'Patterns of Identity' in recognition of the centrality of these issues.