The essence is in the name: Today and for the foreseeable future, the making of every piece of clothing worldwide will involve sewing by human hands.

Try to envision the invisible: the fingerprints of tailors, garment workers, machinists covering every piece of clothing you wear.

With the technique of paint-sewing the human labour essential to clothing manufacturing becomes visible on the garment.


Each item shows a unique pattern, created by the handling during the sewing process. All HUMAN TOUCH items are made-to-order in Berlin. The textile paint is fixed to the fibre to allow for regular wear and care. Alongside their designs, the HUMAN TOUCH team demonstrates the process with live sewing performances.

Founded by Juliet Seger as a project in 2020, HUMAN TOUCH is now launching as a standalone fashion brand,  in collaboration with friend and business partner Christina Albrecht.

 

Juliet Seger is a tailor, clothing engineer, sustainability designer and artist. Christina Albrecht is a fashion designer, pattern maker, stylist and art director.

CHRISTINA ALBRECHT AND JULIET SEGER PHOTOGRAPHED BY STUDIO MIME 
AT THE HUMAN TOUCH INSTALLATION DURING BERLIN FASHION WEEK 02/2024.

Background


 THE HUMAN TOUCH 
An Ethical Discussion on the Digital Transformation of Sewing Technology

Dissertation in Design for Change (MA) at The University of Edinburgh
Juliet Seger, 2020

While human society is being transformed by information technology, contemporary sewing technology is based on the same functionality as in the late 18th century, including the fundamental dependency on human dexterity and tactility. While established digital technologies seek to streamline the human-led manufacturing process in many industries, the unique characteristics of clothing production with its high fluctuation of styles, low margins and floppy textile material make full automation unviable and in the foreseeable future perhaps even infeasible. In short: Today, and for the foreseeable future, every garment is and will involve sewing by human hands.

 

Because of this continuous dependency on human participation, the production of clothing – and in particular the sewing process – must be assessed from an ethical perspective. In the theoretical component of her dissertation, Juliet Seger uses the Matrix of Convivial Technology (A.Vetter, 2018), which finds its origins in the Degrowth movement, as a guide to discuss the ethical features associated with sewing technology. Examining this technology across the spectrum of convivial values results in distinguishing it as a social technology. As such, it holds potential to fulfil basic needs, empower people through the ability to create, and build relationships. Under a commercialised motivation however, the human component shifts its position: Human labour becomes 'inferior to the system' and its inherent consumerism. It becomes clear that the core question of how to design a more just future fashion industry is not one of ‘techno-optimism vs. techno-pessimism’ or the narrative of 'digital saviourism' (Is technology good or bad? Will technology save us?). Rather it is a question of social agency versus social passivity. It is necessary to actively change the status of the garment workers - and the onus is on the consumer to participate in this change.

 

To support the development towards a socially sustainable fashion industry and to expand its positive features, we suggest a creative approach to enhancing informed consumerism. Based on the scientific foundation, the design output moves the human component into focus by directly visualising the human touch of sewing technology in its immediate medium: the garment of quotidian use. With the technique of paint-sewing, THE HUMAN TOUCH of manufacturing becomes literally imprinted on the garment.



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