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Gemstones
Contextualised 

and Applied

Johani Louw 2021
Gemstones Contextualised and Applied:

Mindful Fashion Practice



Gemstones 
Contextualised 

and Applied
Mindful Fashion 
Practice

A thesis presented in partial fulfilment of the requirements for a  
Master in Design at Massey University, Wellington, New Zealand.

Johani Louw  
2021



Contents
01. Abstract
02. Acknowledgments
03. Introduction

Part One
09. Chapter one: Crystals, Minerals & Gemstones

1.1 A Brief History 
1.2 As used in ‘Dress’ 
1.3 Crystal Healing: Energies and Chakras

17. Chapter two: Well-Being
2.1 What is well-being? Positive Psychology and Subjective Well-being 
2.2 Positive Design 
2.3 Well-being and Fashion

24. Chapter three: Affective Objects
3.1 Affect and Materiality 
3.2 Agency of Objects 
3.3 Emotionality and Design

Part Two
31. Chapter Four: Methods for Design

4.1 Methodology 
4.2 Positive and Emotional Design as the foundation

34. Chapter Five: Encapsulating the crystals and gemstones:
5.1  Considering Their History 
5.2 The Crystal Carrier as a ‘Mechanism’ 
5.3 The Crystal; Textural and Visual resonance

50. Chapter Six: Crystal and body relationships
6.1 Body Placement and Chakras 

54. Chapter Seven: 3D Development
7.1 Draping — Mindful Decision Making 
7.2 Garment for Courage 
7.3 Garment for Love 
7.4 Garment for Communication

68. Chapter Eight: Considering Wear and Care
79. Reflections
81. Works Cited
86. List of figures
90. Bibliography



1 2

Abstract
We are living in a time where people are growing more disconnected – 
from each other and themselves. This disconnect has led to emotional 
and mental distress, which people attempt to avoid addressing through 
unsustainable systems and practices in which they seek short-term, instant 
pleasures. 

With this practice-based design research, I am creating a wardrobe that 
enables the wearer to guide and express their emotional well-being by 
incorporating crystals as an integral part of fashion design. I aim to design 
clothing that allows the wearer to feel confident to evoke particular states 
of mind and, through their clothing, spark a conversation with others 
about their emotionality.

Through secondary research, this project is guided by looking at crystal 
rituals, using a ‘Positive Design’ framework, and the agency of objects. 
These are in some way applied to and considered through every designed 
element. These designs investigate crystals as tools of healing through 
the use of print, and fabric manipulation, and embroidery, particularly its 
visual and textural form within the garment and meaningful location in 
relation to the body. Alongside this, textile print design is used to realise 
the relationship between the crystals and their corresponding chakras. 
With the designs based around chakra systems and the effective properties 
of crystals, the wearer is encouraged to reflect on their emotional well-
being and use the clothing as a tool to help guide their mentality on any 
given day.

By creating clothing that promotes internal reflection and works toward 
emotional well-being, the fashion system can be reimagined as a tool to 
evoke desired feelings. This design practise encourages mindful dressing 
and conversations of emotionality between the wearer, viewer and maker. 

Acknowledgments

Deb Cumming and Sue Prescott 
For your unwavering support and guidance. Your enthusiasm carried me 
through this experience.

The Massey University Fashion Department 
For the continuous aid, advice, and opportunities over my course of study.

Lisa and Lindi Louw 
For being my sounding boards, helping hands, and everything in between.

Cameron Edwards 
For type setting this document, your support and great driving.

My parents 
You are the reason I am able to explore my passions and pursue this 
course. You continuously push me further and inspire me to learn more.

My dear friends 
For all your patience, love and care, especially when I was frustrated.



3 4

Introduction
The current fashion system is formed around unremitting growth and 
consumption, or “growth logic” (Fletcher & Tham, 2019, p.6). At a time when 
the world’s population is growing and resources are being depleted, it is 
important for us to consider how our own actions affect our own lives and 
the world around us. As a designer and creator I want to consider how 
my work might “support conscious choice and reflective competence” 
(Fletcher, 2014, p.147), so as to allow a greater connection between the 
wearer or keeper of the clothing and their wardrobe. 

Through the integration of crystals I am working to reimagine the 
processes and outcomes of fashion design, so as to create clothing that is 
made to live with us over a lifetime, rather than making items that we use 
to discard within a few seasons. This is achieved by creating pieces that 
inspire people to think of clothing as intrinsically special and emotionally 
impactful. They are made to provide us with a very mindful interaction, 
with the clothing creating a space to take time to reflect on our emotional 
and mental needs, through both the selection and dressing process. This 
mindfulness is lead by the incorporation of gemstones and crystals, which 
have historically been a symbol of well-being across all cultures and 
religions. For centuries, people in general, women especially, have used 
these to help heal and promote emotional and mental qualities within 
themselves and others. 

Most commonly used within fashion as an element within jewellery or as 
an embellishment on clothing, gemstones and crystals are more readily 
seen as purely decorative or ostentatious, with technologies allowing us 
to make glass and lab-grown gems. This has given designers access to 
using them in excess, outside of the context of their considered agencies. 
This was not always the case. These crystals and precious stones were 
originally used and worn for their agency, as each one was know to 
“possess particular qualities and properties, reinforcing or protecting 
their wearer” (Mentges, 2010, para 13), which guided the use of the different 
gemstones. These ideas and beliefs were intertwined into religious and 
spiritual beliefs and practices across the world. This includes crystal-
healing practices. 

Although the idea of crystal healing has been deemed as a “New Age 
treatment” (Moore, Moore, & McClean, 2010, p.15), crystals and gemstones 
have, in actuality, been used as “healing tools for as long as there have 
been women (and men) to appreciate their power and their beauty” (Stein, 
2011, p.1). Crystal healing is based around the concept of energies, of which 
healing is “the transfer of ‘good’ energies into patients in order to deal with 
the negative energies absorbed by the patient or client”(Moore et al., 2010, 
p. 6). In this sense, all crystals have different energy levels, and as such, 
are used to promote differing mental states and emotive expressions. The 
gemstones and crystals' colours also influence these properties, so each 
one symbolises a different well-being state. Placing the crystals near our 
persons allows us to tap into their “healing power” (Hall, 2011, p. 6), and by 
placing them at a particular part of our bodies, focuses where the crystals 
or gemstones work to restore energies. 

This work is guided by the chakras, which marks particular points of 
energy within the body, placed down the spine (Best, 2010). These points 
work in alignment with our bodies – our organs and glands – and as such 
affect the way we function both physically and mentally, both of which 
affect our emotional well-being. As these energy centres are related to our 
physical body, they can become imbalanced when we are physically ill 
or feeling mentally drained. The chakras are “associated with the seven 
colours of the rainbow” (Deekshitulu,, 2014, p.399), these colours are used to 
determine the crystals that work in relation to each chakra and the states 
of our well-being which they affect. 

The idea of well-being applies not only to our physical health, but also 
our emotional and mental health. This is heavily studied within positive 
psychology, which moves away from focusing on illness, and instead looks 
towards what we can do to thrive as both individuals and a community. 
Also known as “eudaimonia” (Fletcher, 2014, p.149), the way we view our 
lives and how we feel is positively affected when we flourish, which in turn 
effects our emotional well-being. Being emotionally well allows us to take 
part in our own lives more readily, as it is our emotionality and ability to 
understand emotion, which is what connects us to other people. 

Understanding this critical relationship between our emotional well-
being and how we are in the world has created a shift in thinking 
when considering the things we interact with and how this interaction 
takes place. There is a growing consideration of what the things we 
use represent, and how they came to be. To ensure the satisfaction of 
whoever may use or come into contact with these objects, a ‘Positive 
Design’ framework has been created, which is comprised of three well-
being components. They are design for pleasure, personal significance 
and virtue, and all work to positively affect the product user (Desmet & 
Pohlmeyer, 2013). 

This framework can be applied to fashion design, so that the clothing we 
interact with daily can benefit us emotionally, allowing us to flourish and 
be well in our daily lives and interactions with others. This idea has been 
addressed in several ways already, such as through garments by  
Jenny Tillotson (2009) and Chloé Julian (2021).Following along with 
a similar focus on emotional well-being, we can work to redefine the 
boundaries of the effects of fashion, by re-determining the agency of 
clothing as affective objects.

The understanding of material objects having agency, the ability to affect 
us in some way, has been greatly studied and considered within spatial 
design and how natural elements might be used to change the way a 
space might affect the people within it. Through studying these effects, 
designers can work to “optimise physical, mental, emotional, and spiritual 
healing” (Schweitzer, Gilpin, & Frampton, 2004, p.71), as it is our connection 
to what is around us which “defines our well-being” (Singh, 2018, 1:32). This 
relationship between person and space can be extended to clothing, which 
forms space around the body, and as such, can directly affect the different 
states of well-being of the wearer. 



5 6

These affective qualities come into play through the understanding and 
acknowledgement of the agency of objects, which is based around the 
materiality of the item. This reflects back to the history of crystals and 
gemstones, being used and regarded with respect to their “lithic agency” 
(Galvez, 2014, p. 18) and effective properties. These crystals were used 
to “facilitate experience and self-interpretation” (Galvez, 2014, p. 26), in 
a similar fashion to pilgrim tokens and other objects that would inspire 
emotional responses.

Reflecting on our emotional responses in relation to the objects we use or 
have near us has led to a better understanding of how our interactions with 
material objects can guide our living experiences. Through the application 
of visceral, behavioural and reflective design concepts, as set out by 
Donald Norman (2004), we are able to embrace the emotional effects of the 
things we have and use, and can actively work to enhance our well-being, 
as it is directly affected by these objects with agency. This gives us space 
to mindfully move into living in a way that allows us to flourish, as our 
decisions are focused around and guided by our emotional needs.



7 8

Part One
Gemstones Contextualised & Applied

Pages 09   30



9 10

Crystals, represented over time and across various human documentation 
methods such as literature, design, and architecture, have been deemed 
necessary enough for countless cultures and societies to want to  
eternalise their beauty and effects. Some of these first documented 
references include Egyptian works dating back to 1550BC and Pliny the 
Elder's writings, a Roman historian. Additional references include Jewish  
and Arabic legends, Chinese medicine and Ayurvedic medicine  
(McClean, 2013).

Dating back to ancient Greece, lapidary work focused on cutting and 
polishing gemstones with "mineral virtues" (Allen, 2014, p. 136) applied to 
them. These virtues meant the stones had healing qualities and could 
heal "an imbalance in bodily humors” (Robertson, 2012, p. 96). Lapidaries, 
which focused on the “lithic efficacy and agency” (Galvez, 2014, p. 15) of 
gemstones, were studied and referenced by many European medieval 
authors. Their works drew parallels between human experience and 
crystal meanings and worked to teach audiences of the agency and values 
of minerals. This can be seen in the works of authors such as Albert 
Magnus and Isidore of Seville. They write of minerals and gemstones as 
mediums that could "facilitate experience and self-interpretation" (Galvez, 
2014, p. 26). Robertson (2012) discusses this further, writing about the 
beliefs of coral and magnetite, which could remove evil spirits and test 
fidelity, respectively.

The importance of crystals as affective tools has been present within 
various religions, from more occult traditions to Western Christianity, 
Hinduism, Buddhism, and other faiths (McClean, 2013). These beliefs 
associated with crystals varied slightly through religions but are all based 
around similar ideas. Clear crystals were believed to be tools to assist 
transcendence, symbolised by their "reflective and translucent qualities" 
(Galvez, 2014, p. 21). Galvez (2014) also talks of Jewish and Arabic tales, 
which tell us of the strengthening of Solomon's powers through crystal 
architecture. Most religious traditions and beliefs formed centuries ago, 
and these have continued with many people still utilising crystals for 
different needs, both physical and spiritual. In the last 50 years, this has 
grown increasingly popular after the New Age movement's birth within 
Western cultures. New Age beliefs were founded upon esoteric and occult 
traditions present within Western cultures since before Christianity. These 
were then built upon with Eastern religions' beliefs and systems, including 
Buddhism and Hinduism, and included astrology, meditation, and crystal 
healing practices. 

The fascination with crystals across different mediums occurs throughout 
time. In the 20th century, there was a renewed interest in crystals. Writers 
and architects, such as Bruno Taut, were taking note of gemstones' 
magnificence, particularly the effects of clear crystals. Scientists were also 
finding new ways of employing crystals, with crystallography developing 
alongside technological advances, leading to the development of things 
such as X-ray technologies, as well as simply working to grow crystals 
within laboratories for use within the growing global fashion industry. 

Part One

Chapter One
Crystals, 
Minerals & 
Gemstones



11 12

1.2 As used in ‘dress’
Crystals have been utilised by people over time and across the world 
within dress as a larger concept, with evidence dating back as far as 
3500BC (Hughes-Brock, 1998). Precious and semiprecious stones allowed 
people to visually convey parts of themselves regarding their position in 
society, including beliefs or status, when used in dress. They also played 
a role in forming international trade, with amber, lapis lazuli, amethyst, 
and carnelian being traded between Mycenaean Greece and Egypt, 
Afghanistan, and India (Hughes-Brock, 1998).

These materials are evidenced to have been traded, treated and used 
as beads applied to garments or jewellery. Considered one of the most 
“ancient and widespread of human ornaments” (Sciama, 1998, para 1), beads 
made of various gemstones have been found globally. In Eastern Europe, 
people mined and applied local minerals and semiprecious stones to 
garments and jewellery (Smith, 2010). These included topaz, aquamarine, 
turquoise, amethyst, jasper, garnets, carnelians, and amber. This amber, 
found in Baltic states, was most often made into jewellery and makes up 
"80 percent of the world's supply" (Smith, 2010, para 30) today. (Figures 1 
and 2).

Found in Afghanistan, used within jewellery or “Muslim prayer beads” 
(Daly, 2010, para 26), was lapis lazuli, carnelian, ruby, emerald and peridot. 
Lapis lazuli and turquoise have been mined in Central Asia dating back 
to 3500BCE, with turquoise also found in the Americas (Liu, 2010). It was 
often used alongside shells and has become a fixture in jewellery made by 
"southwest Native American" (Liu, 2010, para 16) tribes in the United States. 

Across the continent of Africa, minerals and stones have also been used 
in dress, with one of the most notable examples being Lantana beads 
from Nigeria. These vary between materials but is always made of "jasper, 
banded agates, chalcedony or carnelian” (O’Hear, 1998, para. 5) and have, 
alongside coral beads, been a part of royal dress for centuries. All genders 
have also worn coral beads as a symbol of "wealth and prestige" (Eicher, 
1998, para 20) or when in mourning. 

In South Africa, bloodstone and hematite, instead of used for beading, is 
made into red ochre. Used predominantly by Khoe-San people, as well 
as Xhosa, Sotho, and Tswana speakers, red ochre worked as a cosmetic 
dye applied to "the body and hair" (Davison, 2010, para 8), symbolic of "the 
earth, blood, and life force" (Davison, 2010, para 8). This use of red ochre 
extended into dyeing clothing in the twentieth century. It was a way for 
some indigenous groups to not only visually express their traditions but 
was their way of resisting "imposed systems of administration" (Davison, 
2010, para 8). 

This use of precious stones, whether as beading on clothing, jewellery, or 
dye pigment, has always been "tied to beliefs concerning both the social 
and cosmological order" (Sciama, 1998, para 5) across all cultures in which 
they are used, though these meanings may differ. These relate to beliefs 
tied to the materials used, with specific "properties" (Mentges, 2010, para 
13) applied to certain gemstones. Within the west, these ideals were 

predominant during the Middle Ages, when the properties of precious 
stones were thought to help protect or strengthen the person in contact 
with them (Mentges, 2010). This was tied to the religious ideas and “the 
cosmic conception of Earth as the mother of humans and nature” (Mentges, 
2010, para 12) of the Middle Ages, which started falling apart with mining 
development. 

With changes in western perception, the meanings and properties of 
jewels became less valuable. Instead, people were more interested in their 
monetary value and with "superficial surface embellishment" (Skelly, 2017, 
Para 3), which is highlighted in the application of stones and crystals within 
the world of fashion. It marked a turning point in society's development, 
leading to the colonisation of eastern countries, including the "conquest of 
India" (Mentges, 2010, para 7). It also resulted in over-mining, which takes 
advantage of natural resources and people needing to survive in a global 
western capitalist society. 

Interest in precious stones and crystals, though changing in intent, has 
stayed intrinsic to dress. It is evident through the growth and continuation 
of the jewellery industry and clothing design, with designers using crystals 
and stones as surface embellishments. Founded in 1895 ("Swarovski Brand," 
n.d.), Swarovski has become synonymous with crystals in a modern 
concept . Their products, though talked of as crystals and gemstones, are 
glass crystals and lab-grown gems. So while they appear as traditional 
materials, they lack the same properties as natural gemstones and crystals. 
This is both positive and negative. It is more sustainable than using mined 
products, but it lacks the same connection people have with natural 
crystals, placing more emphasis on their value and visual appeal. This is 
noticeable through the use of Swarovski crystals, particularly in fashion 
design. The excessive and decorative use of these crystals include works 
such as Alexander McQueen's SS99 collection (figure 3) and Hussein 
Chalayan's SS08 collection (figure 4), which had thousands of Swarovski 
crystals embroidered onto the garments playing with the idea of "opulent 
elegance and high-tech savvy" (Quinn, 2010, Para 32). Another example 
includes Jeremy Scott's SS18 collection, in which he used 400,000 
Swarovski crystals ("Swarovski at NY Fashion Week," 2017) as well as 
his SS19 collection, which displayed  32,000 crystals (A, 2018). Though 
these works are all visually dynamic, they take away from the origins of 
crystals as a natural material, with no acknowledgement to the agency of 
gemstones as an ancient tool. Instead these garments are considered in 
relation to their monetary value as objects of high-end luxury.



13 14

Figure 1. Unknown. (1st - 4th Century). Pair of gold earrings 
set with garnets and hung with carnelian and emerald 
beads [Earrings]. Victoria & Albert Museum. https://www-
bloomsburyfashioncentral-com.ezproxy.massey.ac.nz/
products/berg-fashion-library/museum/victoria-albert-
museum/pair-of-earrings-86489

Figure 3. McQueen, A. (1999). Look 67, Spring 1999 Ready-to-
Wear [Photograph]. Condé Nast Archive. https://www.vogue.
com/fashion-shows/spring-1999-ready-to-wear/alexander-
mcqueen/slideshow/collection#67

Figure 4. Chalayan, H. (2008). Hussein Chalayan SS08 
[Photograph]. Hussein Chalayan. https://www.dazeddigital.
com/fashion/gallery/20405/8/hussein-chalayan-archive

Figure 2. Unknown. (ca. 1765). Necklace of opaque amber 
beads with silver filigree clasp [Necklace]. Victoria & Albert 
Museum. https://www-bloomsburyfashioncentral-com.
ezproxy.massey.ac.nz/products/berg-fashion-library/
museum/victoria-albert-museum/necklace-91226



1615

1.3 Crystal healing: energies and chakras
Symbolised and used over centuries, crystals have been able to maintain 
their place in society as numerous cultures, and healing practices use 
"crystals, amulets, and gemstones as healing objects and for protection, 
decoration, and adornment" (McClean, 2013, p. 63). Crystal healing is based 
around concepts of energies and emotional well-being. This works in 
relation to the agency of the mineral, what lapidaries named their virtues, 
and the energies and emotional balance of the person receiving the 
healing.

Energy healing has roots dating back to Ancient Egypt and is based around 
the concept of “removing blocks in your body’s energetic field” (Dunn, 2019, 
p. 94). Removing these blocks allows us to be emotionally well, as we can 
control and manipulate our body's energy or "vibration" (Cleaver, 2012, Para 
1). These vibrations or energies relate to the “subtle mineral energy” (Bondar 
& Bondar, 2008, p. 19) of gemstones and is how practitioners over time and 
cultures have been able to draw similar connections between all crystals 
and what they are used for or what they symbolise. This energy is centred 
throughout the body in relation to the chakras. 

Originating in India, particularly within Hinduism, chakras are points 
within the body where “centers of energy" (Best, 2010, p. 12) are found. 
Though this system is more commonly recognised in its Hindu form and 
understanding, we can see broad variations throughout many cultures. 
The chakras, meaning 'wheels' in Sanskrit, mark locations where our 
physical and spiritual bodies align and there are thought to be over twenty 
chakra points, some more powerful and well-recognised than others. The 
most well-known points are the "seven major chakras" (Best, 2010, p. 12) 
and run from the base of the spine up to the top of the head. They are the 
Muladhara chakra (Root), Svadhisthana chakra (Sacral), Manipura chakra 
(Solar Plexus), Anahata chakra (Heart), Vishuddha chakra (Throat), Ajna 
chakra (Brow or Third Eye), and Sahasrara chakra (Crown). Because 
these wheels are lined up through and along the spine, as seen in figure 5, 
they have associations with our physical body, representing and working 
alongside our organs and glands. They also have connections with and 
effects on our emotional and spiritual well-being. Drapkin et al. (2016) 
further explore how this system reflects these three concepts: the physical, 
emotional and spiritual, and helps us understand the relationship between 
a balanced Chakra system and our well-being. They found that for over 
70% of people, spirituality and positive psychology are intrinsically linked. 
Chakras can become imbalanced for many reasons, including pushing 
down or hiding our emotions (Deekshitulu P. V (2014). We can balance these 
in various ways, such as through "contemplative practice" (Drapkin et al., 
2016, p. 606), including meditation, mantra work, and utilising stones and 
crystals. 

The cross over between these healing practices is where crystals as a tool 
come in. With each gemstone having its own assigned virtue, which relates 
to what it is made of, the colour, and its mineral energy, the crystals can 
be placed on or near the body, in alignment with the different chakras, to 
target various emotional imbalances. By doing this, we can guide our own 
emotional experiences and, as a result, our emotional well-being.

Figure 5. Leadbeater, C. W. (1927). Chakra positions in 
supposed relation to nervous plexuses [Illustration]. https://
commons.wikimedia.org/wiki/File:Nervous_plexi.jpg



17 18

2.1 What is well-being? Positive psychology and subjective well-being
The Cambridge Dictionary defines well-being as "the state of feeling 
healthy and happy"(Press, n.d.).

This concept of well-being has grown more popular in what is becoming 
a "post-materialistic era” (E. Diener & Ryan, 2009, p. 400), with people 
growing more concerned with being emotionally well or happy. This idea 
of being happy is further unpacked in studies falling under that of Positive 
Psychology.

Positive Psychology works to understand what enables people and 
communities to "flourish"(Seligman & Csikszentmihalyi, 2000, p. 5). This 
movement, led by Seligman and Csikszentmihalyi, looked at psychology 
not as a way of treating illness but instead as a method of studying 
people's well-being. Within this field, there are various approaches and 
studies to understanding well-being and positive human experiences. 
Seligman and Csikszentmihalyi (2000) categorised them into three levels: 
the subjective level, the individual level, and the group level, with all levels 
including some sense of emotional intelligence or capability.  These ideas 
are studied across a variety of topics, such as David Watson’s “Positive 
Affectivity” (2002), Barbara L. Fredrickson and Michael A. Cohn’s “Positive 
emotions” (2008), as well as Ed Diener’s “Subjective well-being: The 
science of happiness and a proposal for a national index.” (2000). 

Diener's studies of subjective well-being are based around the idea of 
how someone sees and values their own life. Subjective well-being works 
to allow people to interpret their own lives and what they think and feel 
regarding their place in the world and their relationship with their own life 
experiences. This is generally conveyed through claims of being happy or 
satisfied or otherwise "positive” (Ed Diener, 2009, p. 13) evaluations. High 
subjective well-being and its positive effects allow for greater emotional 
well-being, focusing on positive life attributes. This is important as “it is 
not just who we are that matters to happiness, but how we think about our 
lives” (Ed Diener, Lucas, & Oishi, 2002, p. 67).  

Diener draws a correlation between living in a state of high subjective 
well-being and having good self-esteem, which is further supported by 
Schutte et al. (2002) in their theory of emotional well-being and emotional 
intelligence. Described as “the ability to understand and regulate 
emotions” (Schutte et al., 2002, p. 769), emotional intelligence is a crucial 
factor in being emotionally well and having high subjective well-being. It 
affects how we take part in society, our relationships with others, and our 
relationship with ourselves. 

These understandings and theories of positive psychology and well-being, 
concerning our emotional well-being, work together to show how our 
emotional reactions to different situations throughout our lives depict our 
moods and feelings.

Part One

Chapter Two
Well-Being



2019

2.2 Positive design
With people growing more aware and interested in well-being, values are 
being transferred towards post-materialism ideas, focusing on theories of 
self-expression and belonging. This transferral of values works to make 
designers consider their values and questions the reasoning and methods 
behind new designs and products, with focus moving from an object’s 
monetary value to what an object can be used for or what it represents.

To help answer these questions and work within a new value system, 
Desmet and Pohlmeyer introduced a new “framework for positive design” 
(Desmet & Pohlmeyer, 2013, p. 7). The framework focuses on "pleasure, 
personal significance and virtue" (Desmet & Pohlmeyer, 2013, p. 8), as can 
be seen in figure 6, all of which are essential to subjective well-being. The 
aim of 'positive design' is to positively benefit the user by affecting their 
subjective well-being, allowing them to "flourish" (Desmet & Pohlmeyer, 2013, 
p. 8). This can be done through the application of any or all of the three 
well-being components:

 ✻ Design for pleasure works to focus on ideas of pleasure 
that people seek out when interacting with or through 
products, these being “physical, social, psychological, and 
ideological” (Desmet & Pohlmeyer, 2013, p. 8).

 ✻ Design for personal significance focuses on the user's 
personal experience with the product, how can it help them 
achieve their own goals, stimulate them or satisfy them.

 ✻ Design for virtue moves towards moral ideals. It looks at 
both how and why this product is produced and its effects 
on the user. Does the design work enable people to be more 
considerate in relation to their own culture or society? How 
and where was this produced, and what were its effects on 
those involved in making it? 

Following this framework means intentionally applying these ideas to the 
design work. Although not all three need to be included or addressed, the 
work should not actively oppose any of these fundamental components. 

Figure 6. Desmet, P. M. A., & Pohlmeyer, A. E. (2013). Positive 
Design Framework. International Journal of Design. http://
www.ijdesign.org/index.php/IJDesign/article/view/1666/595 



21 22

2.3 Well-being and fashion
Applying 'positive design' to fashion is essential as it is a system that 
is interacted with daily by all people. The ritual of getting dressed, "the 
activity of clothing the body" (Entwistle, 2015, p. 62), is as much a part of 
people's lives as other forms of self-care, such as eating a meal, interacting 
with people, and sleeping. 

Fashion is based on being clothed or "wearing" (Thornquist, 2018, p. 291). 
This means that there is constantly some level of interaction between the 
person and the object they are wearing. There is a constant give and take 
in the relationship between the wearer and what is worn. Implementing 
the positive design framework to fashion design allows us to focus on and 
rework this relationship. The fashion object can be utilised to positively 
affect the wearer and possibly even those in contact with the wearer. In 
doing this, we can address different levels and ideas of well-being, allowing 
wearers and communities to flourish through the process of wearing or 
being dressed.  

This idea of having clothing that enables well-being has been addressed in 
a myriad of ways. However, most approaches to well-being through fashion 
design lean heavily on incorporating technology within a wearable item, 
as evidenced in Tillotson’s ‘Scentsory Design: A “Holistic” Approach to 
Fashion as a Vehicle to Deliver Emotional Well-being’ (Figure 7). Tillotson 
attempts to enhance “self and social confidence” (Tillotson, 2009, p. 34) 
of wearers by approaching well-being through multi-sensory design. The 
designs combine fragrance, colour, and technology, delivered through the 
clothing after reading and interpreting the wearer's emotions.

I aim to utilise processes that work together to affect the wearer's 
emotional well-being as a mindfully targeted experience addressed by 
each garment as a whole. This will include the application of several 
crystals and gemstones that target specific mindsets, the use and 
manipulation of particular fabrics, and colour and print within textiles 
as a visual symbol and representation of each of the seven chakras. This 
inclusion and focus on textiles is particularly important, as textiles are 
considered to be "a vital signifier of meaning” (Andrew, 2008, p. 35) in 
fashion design, meaning that every component of the materials used can 
be considered and utilised to convey specific ideas or messages. Sonja 
Andrew terms this "Communicative Textiles” (Andrew, 2008, p. 34).  

One of the dominant communication tools within Textiles is its print 
design, which has been used across cultures over time. Michael Hann 
(2013) explores how print design, however it is formed, works as a visual 
symbol to convey a particular idea or meaning. Because certain symbols 
hold specific meanings to different cultures worldwide, which can differ 
drastically, Hann (2013) looks instead at the structure of motifs, which 
then, as a larger regular pattern, could intrinsically be symbolic. This is 
developed through geometric shapes, including the circle, the equilateral 
triangle, polygons, and geometric principles such as ratio, proportion, and 
symmetry. 

These form the basis of most patterns, with "shape and 
symmetry"(Urquhart & Wodehouse, 2017, p. 110) becoming the principal 
factors in any design variations. Exploring the combination of 
motifs, symmetry, and colours is vital in creating a visually dynamic 
representation of each targeted chakra and state of mind to work alongside 
the crystal energies to promote the wearer's well-being.

With a similar intent, Chloé Julian created Videris. Though not looking at 
crystals or the chakra system, the lingerie brand similarly focuses on tools 
of holistic healing, with their focus being colour therapy, or chromotherapy. 
Described on their website, “Videris is for everyday wellbeing”, as through 
the application of very specific colours, the underwear is “designed to 
enhance a feeling or mood, through each colour’s specific wavelengths 
and frequencies” (Videris, 2021) (Figure 8). With these applied holistic tools, 
Julian is working to have wearers consciously “tapping into the traits 
of each colour and… taking the moment to acknowledge it and set an 
intention for the day” (Julian, 2021, para 9). The brand offers information on 
each colour and its affects on their website, but have named the garments 
with more abstract terms, such as their ‘olive’ pieces, which are for new 
beginnings, peace and feminine leadership. Though the names still reflect 
the colour, it could be said that offering a clearer direction in the name 
could help wearers realise the intent more easily. In saying that, Videris 
still offers a space for people to take a moment and reflect on their own 
emotional needs for a particular place or time, and to then interact with 
their clothing and decision making to fulfil these needs. 

Approaching fashion design mindfully, both in intent and execution, is 
essential at a time where the industry is having to make big changes to 
move forward into a more sustainable system. Moving into a new system 
is crucial for the well-being of not only ourselves but also the earth, which 
is the focus of Kate Fletcher and Mathilda Tham’s Earth Logic (2019), an 
action research plan for a new fashion system. Their aim is to move the 
system from one of economic growth to one based around the limits of the 
“planet’s boundaries” (Fletcher & Tham, 2019, p. 6), which means making 
pieces that thoughtfully work to “nurture our deeper well-being” (Fletcher, 
2014, p. 147). In order to make such a big change we have to rethink the 
meaning behind clothing and our relationships with our belongings. It 
means working to design garments that have us consider all parts of it, 
questioning why and how it was made. It requires care, not just for our 
world but also ourselves, which could include any “emotional, spiritual, 
mental, physical, social practices” (Fletcher & Tham, 2019, p. 37) to nurture 
our well-being. By applying the positive design framework to work within 
this new fashion system, clothing can become affective tools of healing 
and physical iterations of our emotional well-being. 



2423

Part One

Chapter Three
Affective 
Objects

Figure 7. Tillotson, J. (2010). Pulsate: Scentsory design for 
fashion and lifestyle [Photograph]. Jenny Tillotson. https://
ualresearchonline.arts.ac.uk/id/eprint/5263/7/3_pulsate.jpg

Figure 8. Videris. (n.a.). Image of Videris Lingerie ‘Poise’ 
colourway [Photograph]. https://cdn.shopify.com/s/
files/1/0325/3295/5269/files/Poise_0909be5a-4b2f-42ad-
a78e-24a0e89ac60d_1080x.jpg?v=1621153732%20https://
www.viderislingerie.com/pages/colours



25 26

3.1 Affect and materiality
The concept of objects or items being able to affect our own experiences, 
in this case, our well-being and emotionality, is understood by 
acknowledging objects' agency. The idea of affect and materiality has 
been approached and contemplated by designers and artists throughout 
time, with recent works looking to understand how things and spaces, in 
particular, affect humans mentally and emotionally.

J. Sarris et al. (2019) and M. Schweitzer et al. (2004) look at the 
relationship between nature, space and well-being. Their works are 
focused on how different facets of nature, such as the four elements or 
nature as a symbol of spirituality, can impact the mental well-being of 
people within a space and inspire healing. Tiffany Singh combines ideas 
similar to these in her artworks 'Indra's bow' and 'Total Internal Reflection', 
which aim to inspire reflection and healing in those viewing the works by 
acknowledging the agency of natural materials that most people know of 
as healing tools or have access to in daily practices, such as cooking. 

These works examine how art and design, particularly spatial design, have 
been utilised to explore and enhance atmospheres, which is the feeling or 
mood within a space. This can only be experienced through there being 
a "co-presence of subject and object" (Bille, Bjerregaard, & Sørensen, 2015, 
p. 32) because that which is within a space affects us when we are in it 
as much as we might affect what is in the area. This practice allows us to 
question what imbues a room or space with a certain aura, exploring how 
much an object or material can change or enhance atmospheres. Often 
clothing design is discussed as the creation of space around the body. 
Bille et al. (2015) work to understand this interaction between subject and 
object by studying the relationship between objects, something that we 
know through its sensory qualities and our emotional states, and the way 
that both of these affect each other. Although this focuses on how spaces 
can affect a person, it also acknowledges the agency of material objects, 
which has become a greater area of focus in archaeological studies and 
understandings of our history with physical items. This is where we cross 
over from understanding objects enhancing spaces to knowing more 
about the relationship between objects and emotions and how they can 
directly affect us regardless of the space or other people. These studies, 
particularly within archaeology and philosophy, move us from the more 
abstract 'atmosphere' to the more immediate object. 

3.2 Agency of objects
Through theories such as Heidegger's Object-Oriented Ontology and 
archaeological studies of medieval artefacts, the understanding of the 
agency of objects has grown. The idea that things have agency, which is 
the power or ability to affect and garner a person's response, is based on 
their materiality. As discussed in several essays in Feeling Things: Objects 
and Emotions through History (2018), we can see how the agency of 
material things has been acknowledged or explored across cultures over 
time. These works all look at how "objects shape emotions and emotions 
shape objects" (Downes et al., 2018, p. 2). It is necessary to understand this 
because although we can exert a particular mood, memory or experience 
onto objects around us and in our lives, our experiences can equally be 
shaped and guided by the things around us, depending on their material 
qualities. This can be seen through the use of materials such as clear 
crystal and glass within reliquaries. These materials would "inflect the 
affective experience of their beholder" (Gertsman, 2018, p. 35), as their 
materiality inspired pious thoughts and actions within its viewer.

Similarly, pilgrim tokens became "emotional objects" (Randles, 2018, p. 
44), not only because of how and why they were used but also because 
of what they represented as physical objects. People from all walks of 
life would use these items, being kept on or close to bodies. They would 
inspire specific emotional reactions or responses within the people who 
were in contact with the object through their materiality. The agency of 
objects was more commonly acknowledged within apotropaic things, 
which had the power to avert bad luck or evil, now known as good luck 
charms. However, this was not the only thing that they were used for, with 
emotional reactions becoming a vital aspect regarding objects as having 
agency. People came to utilise these agents as emotional tools to imbue 
the user of an object with a particular feeling or mood through different 
rituals and practices.  These allow us to perform emotions with objects, 
as Randles (2018) explains, as our “emotions are made manifest by being 
located in an object” (Begiato, 2018, p. 241). 



27 28

3.3 Emotionality and design
Even though emotions are central to being human, we are living at a time 
where there seems to be a big disconnect between our emotionality and 
being taken seriously within many societies, as emotion is often seen as 
negative against western understandings of logic. We must address this, as 
our emotions, moods, and mindsets are all interlinked, and as such, they 
affect each other constantly. In turn, this decides how we can participate, 
not only in our own lives but also in society. By utilising effective tools, we 
can begin to explore what it means to be emotional and how we can guide 
or even change our emotional states. Objects with agency are essential 
in how we "structure emotional relationships… [and how] people relate 
to their environments" (Tarlow, 2012, p. 180), meaning that the things we 
decide to keep close to us play a role in how our lives play out, regardless 
of how intentional these decisions may be. By actively taking note of the 
materiality of emotions through the agency of objects, not only can we 
work to determine our emotional experiences and moods consciously, 
but we can also re-address how emotionality is received within society. 
Through these material things, we can create a physical and visual guide 
to allow understanding of a person's emotional needs so that even though 
we cannot feel another person’s emotions, we can know what they are 
feeling or trying to convey about their well-being. Donald Norman (2004) 
unpacks these ideas to understand how through design we can create 
pieces that we can utilise to explore, and even enhance, our emotionality 
and emotional well-being. Norman looks to understand the intrinsic 
relationship between affect and emotion, described as the “general term 
for the judgemental system” and the “conscious experience of affect”, 
respectively (Norman, 2004, p. 15). These can be affected simultaneously 
through applying Norman’s three primary concepts of design: 

 ✻ Visceral, which focuses on the appearance of an object.

 ✻ Behavioural, which looks at the usability of a product, its 
effectiveness and how it might please the user when being 
used.

 ✻ Reflective, which is based on our personal relationship 
with the things in our lives, focusing on what it provides for 
us in relation to our emotional needs. 



29 30

Gemstones Contextualised & Applied

Part Two
Pages 31   70



31 32

Figure 9. Edwards, C. (2021). The Cycle of the Methodology of 
Action Research.  

4.1 Methodology
As this project explores meditative 
and self-reflective practices, I felt it 
was important for the design process 
and decisions to reflect this. Therefore, 
the project utilises action research 
and, consequently, reflective practice 
methodologies. Also known as “practice-
based research” (McNiff, 2013, p.23), as 
shown in figure 9, action research requires 
constant self-reflection as it works through 
a cycle of action and reflection so as to 
accomplish change through understanding 
(Dick & Greenwood, 2015). In the same 
cyclical manner, Schön’s reflective practice 
requires “reflection-in-action” (Waks, 
2011, p.42). This process of reflection and 
action allows me to actively pay attention 
to how this work applies Norman’s three 
primary concepts of design. The visceral, 
behavioural and reflective concepts all 
come into play in different facets of the 
garments, with all decisions intentionally 
working towards one of these. Through 
this movement between research and 
design developments and a focus on these 
design concepts, I am able to mindfully 
explore multiple tools for, and concepts of, 
emotional well-being with dress.

I have married them in new ways within 
the practice of fashion design so as to 
rework the system of fashion for the 
betterment of each other and ourselves.

Part Two

Chapter Four
Methods and 
Process



3433

4.2 Positive and emotional design as the foundation
Based around the ‘Positive Design’ framework and emotional design 
concepts, this work acknowledges the power of affective objects in relation 
to how we feel about and use them. Through this lens, I reflected on every 
design element so that each component has meaning behind how and why 
it is included. These come together as a whole, so that the wardrobe can 
be utilised as a tool to open up a discourse of emotionality. Furthermore, 
through creating a new mentality for dressing, by focusing on mindfulness 
and awareness, the wardrobe works to redefine the affordance of clothing 
and the design elements within. 

Part Two

Chapter Five
Encapsulating 
the Crystals 
and 
Gemstones



35 36

5.1 Considering their history
Incorporating gemstones into clothing forms the basis of this project,  
as their agency guides the wearer's emotional well-being and  
lived experience. 

For as long as we’ve adorned ourselves, crystals and gems have been 
worn by people, predominantly as jewellery – encased in various metals 
or formed into beads. Though initially worn for “utility and spiritual 
protection” (Dickson, 2010, para 1) after the renaissance, society pushed 
these values aside, and jewellery became symbols of "ornament and 
financial value" (Mentges, 2010, Para 13). These ideas extended into 
different art forms, with materials used for embellishments, including 
crystals, considered “superficial” (Skelly, 2017, para 4) and “merely 
decorative” (Skelly, 2017, para 3). With renaissance views attached to modern 
conceptions of jewellery and the idea that crystals and gems are crafty or 
purely ornamental, we've mindlessly erased their power. This change in 
value led me to consider how I might integrate crystals into clothing to 
re-embrace their agency, bringing focus instead to the crystals' healing 
properties and material effect.

5.2 The crystal carrier as a ‘mechanism’ 
When using gemstones as a tool for well-being, we consider what their 
virtues are and where you place them. Though it works to have them near 
our bodies, we don't need direct contact with them. This allowed me to 
explore how I want to work them into the garment designs. It became 
essential for me to move away from the notion that they are merely 
decorative or ornamental, and so I worked to encapsulate them within 
the fabric so that their power was more than their visual traits. I looked at 
different ways of securing them within fabric:

 ✻ Covering the gemstones with fabric which I then threaded 
through eyelets (Figure 10)

 ✻ Securing them between two layers of fabric within stitched 
spaces in reference to quilting (Figure 11) 

 ✻ Using elasticated thread to gather fabric around crystals 
before securing them to another layer of fabric

 ✻ Encapsulating a crystal within a chain mail pocket

 ✻ Draping fabric over crystals which I kept in place by then 
winding copper wire around the fabric (Figure 12)

 ✻ Working a fabric covered crystal like a button through 
different sized buttonholes (Figure 13)

 ✻ Securing gemstones between two layers of fabric using 
smocking techniques (Figure 14)

As they are natural products that I sourced second-hand, they all differ in 
size, shape, and finish. This means how they sit, both within the fabric and 
on the body, changes throughout the wardrobe. By enclosing the crystals 
and gems in fabric, they become an intrinsic part of the garment, and so, 
working through research, trials and discussions, it is imperative for me to 
move away from jewellery-making techniques to investigate how we can 
access the virtues of the utilised gemstones in a way that positively affects 
the wearer. This actively works within Norman’s reflective design concept. 
The encasement within two thin layers of cloth allows me to soften and 
warm the physicality of the gems and crystals, allowing for greater comfort 
to the wearer while still feeling the shape of the object within. With this 
in mind I am moving away from using the techniques that require metals, 
which bring a harshness and coldness to the mechanism. As some of the 
crystals and gemstones are much smaller than others, and because these 
are garments – pieces that are worn, moved around, washed – I selected the 
techniques that fully secure the stones within the garment, so they can’t be 
separated or lost from the clothing. 



37 38

Figure 12. Louw, J. (2021). Sample of crystals covered in fabric, 
held in place with copper wire [Photograph]. 

Figure 10. Louw, J. (2021). Sample of covered gemstones 
threaded through eyelets [Photograph]. 

Figure 13. Louw, J. (2021). Sample of crystals held by fabric and 
button holes [Photograph]. 

Figure 11. Louw, J. (2021). Sample of crystals secured between 
layers of fabric, stitched in reference to quilting [Photograph]. 



4039

5.3 The crystal: textural and visual resonance
It is important in this design project to remove perceived notions of 
superficiality of crystals and gemstones. As we don't need excessive 
numbers of them to garner their energies and evoke certain emotional 
states, I am using multiple design elements to provoke the senses by their 
feel and incredible visual aspects. 

Texturally, I am approaching this idea through different fabric 
manipulation techniques, highlighting opposing forms within the natural 
objects. Through pleating and smocking, the fabric appears as rigid lines 
in black tourmaline or banded jasper, gathered fabric explode outwards 
much like rhodonite and carnelian. The smocking is hand stitched in 
place with embroidery thread to reflect slower methods that offer a space 
for reflection and mindfulness during the process of making. With a 
similar intent tied to the production of the garments, I am also quilting 
some fabrics. This process also changes the way in which I can utilise the 
fabrics, offering a more structured material while still having a softness 
and sense of comfort attached to it. (Figures 15 and 16)

Alongside fabric manipulations as a reference tool, my choice of fabric is 
important. I chose to work with silk, a precious and highly valued material 
that can be formed into various shapes and textures with a lustre and light 
reflection conveying the shine of polished gemstones and quartz crystals. 
This decision was also due to one of the driving factors behind this work 
to further build a relationship between the garments and their keeper. I 
am utilising textile design to enhance the positive affect of the garments. 
I have designed textile prints that function as visual references of the 
crystals encapsulated within the fabric as well as the different chakras 
targeted with each different garment. I feel this is not only relevant, but 
important, as textiles, alongside other tools, work to create meaning within 
clothing, as they are considered a “signifying system within fashion” 
(Andrew, 2008, p. 35). 

As most cultures have different meanings for symbols and shapes, I 
realised it was essential to work with abstract forms to allude to the 
crystals and chakras. This had me forming motifs from each chakra wheel, 
which is made up of a certain number of petals or spokes and represents 
the energy that lies within that point. The seven dominant chakras are the 
root, sacral, solar plexus, heart, throat, brow, and the crown chakra, and as 
written in C.W. Leadbeater's "The Chakras" (2013) has 4, 6, 10, 12, 16, 96 and 
960 spokes, respectively, as seen in figure 17. 

People respond to patterns, particularly the difference between angular 
and curved designs (Urquhart & Wodehouse, 2017). It has been found that 
people “consistently related” (Urquhart & Wodehouse, 2017, p. 115) positive 
emotions with curved based patterns and patterns that interlocked, 
which people tied to ideas of trust, power and security. Reflecting on this, 
I developed all the motif designs to be softer in shape. Each motif has 
straight lines running through them, but they are paired with curved edges 
or circular shapes, which work to show each chakra's spokes, as in figures 
18 - 24. These dichotomies of the lines also reflect similar qualities found 
in crystals and gemstones. 

Figure 14. Louw, J. (2021). Sample of crystals encased in 
smocked fabric [Photograph]. 



41 42

Each design is developed in hues of specific colours to further allude to the 
chakras and crystals or gemstones through the print design. I have chosen 
these based on each chakra’s assigned colour. On working with crystals in 
relation to the chakras, the crystals and gemstones used are predominantly 
variations of that hue. From the root through to the crown, these are red 
and black, orange, yellow, green and pink, light blue, indigo, and violet. 
By layering various colorations of each motif, I have worked to further 
reference the inherent nature and complexity of the crystals. For example, 
abstract versions of banded agates, a visually dynamic crystal form, are 
seen in figures 25, 26 and 27. 

Though we can usually assign many symbols and motifs to an originating 
culture, place or time, there are some that we cannot date back to any 
location in particular, instead these appear globally throughout history. 
This includes the geometrical shapes of "the circle, the square, various 
types of triangle and rectangle, the hexagon and the pentagon" (Hann, 
2013). I have intentionally used these shapes as the guides for the different 
layouts of the various repeating designs, as seen in figures 28 - 35, which 
portray the textile design. Together, these design elements work towards 
visceral design, a concept of design in Norman’s ‘Emotional Design’. 

Figure 15. Louw, J. (2021). Black Tourmaline and Banded 
Jasper reflected in sample of pleated and smocked fabric 
[Photograph].

Figure 16. Louw, J. (2021). Rhodonite and Carnelian reflected in 
sample of gathered fabric [Photograph].



43 44

Figure 17. Leadbeater, C. W. (1927). Clairvoyantly observed 
chakra depictions [Illustration]. https://commons.wikimedia.
org/wiki/File:Leadbeater%27s_Chakras_Pictures.JPG

Figure 18. Louw, J. (2021). Vector of motif for textile for 
‘Courage’ [Illustration]. 

Figure 20. Louw, J. (2021). Vector of motif for textile for ‘Self-
confidence’ [Illustration]. 

Figure 19. Louw, J. (2021). Vector of motif for textile for 
‘Creativity’ [Illustration]. 

Figure 21. Louw, J. (2021). Vector of motif for textile for ‘Love’ 
[Illustration]. 



45 46

Figure 22. Louw, J. (2021). Vector of motif for textile for 
‘Communication’ [Illustration]. 

Figure 25. Louw, J. (2021). Comparing the motif for ‘Creativity’ 
with an orange agate [Mixed media]. 

Figure 24. Louw, J. (2021). Vector of motif for textile for 
‘Awareness’ [Illustration]. 

Figure 26. Louw, J. (2021). Comparing the motif for ‘Love’ with 
a watermelon agate [Mixed media].  

Figure 23. Louw, J. (2021). Vector of motif for textile for 
‘Intuition’ [Illustration]. 

Figure 27. Louw, J. (2021). Comparing the motif for 
‘Communication’ with a blue agate [Mixed media].



47 48

Figure 30. Louw, J. (2021). Textile print design for ‘Self-
confidence’, understanding the motif placement and how this 
translates into the final fabric. [Mixed media].

Figure 31. Louw, J. (2021). Textile print design for ‘Love’, 
understanding the motif placement and how this translates 
into the final fabric. [Mixed media]. 

Figure 28. Louw, J. (2021). Textile print design for ‘Courage’, 
understanding the motif placement and how this translates 
into the final fabric. [Mixed media]. 

Figure 29. Louw, J. (2021). Textile print design for ‘Creativity’, 
understanding the layered motif placement and how this 
translates into the final fabric. [Mixed media]. 



49 50

Part Two

Chapter Six
Crystal 
and Body 
Relationships

Figure 33. Louw, J. (2021). Textile print design for ‘Intuition’, 
understanding the motif placement and how this translates 
into the final fabric. [Mixed media]. 

Figure 34. Louw, J. (2021). Textile print design for ‘Awareness’, 
understanding the motif placement and how this translates 
into the final fabric. [Mixed media].

Figure 32. Louw, J. (2021). Textile print design for 
‘Communication’, understanding the motif placement and 
how this translates into the final fabric. [Mixed media].



51 52

6.0 Crystal and body relationships
As the crystals and gemstones are secured within the fabric, they are able 
to imbue the garment completely with their assigned properties. These 
work across 7 bodies, with each garment working to evoke different 
qualities that we can utilise to guide our emotionality and experiences 
at any given time. They are, courage, creativity, self-confidence, love, 
communication, intuition, and, awareness. In order to do this, the crystals 
and gemstones are encased within each garment at a different point, as 
they are placed at the chakra point of each emotional body, which are 
highlighted in figure 35. Therefore, each body has differing points of 
contact with the garment, which is what guides the design of each body. 
I aimed to combine these particular locations on the body with their 
assigned textile design, so as to visually marry these different, yet integral, 
elements. I have done this by taking note of where the crystals will be 
encapsulated and then placing segments of the body’s motif at different 
points to begin to ideate concepts of silhouette and form (figure 36 - 38). 

Figure 35. Louw, J. (2021). Design template for a visual 
reference for crystal placements at the chakra points down 
the body [Illustration].

Figure 36. Louw, J. (2021). A concept for crystal placement and 
form and silhouette for ‘Courage’ [Mixed media]. 



53 54

Part Two

Chapter Seven
3D 
Development

Figure 37. Louw, J. (2021). A concept for crystal placement and 
form and silhouette for ‘Creativity’ [Mixed media]. 

Figure 38. Louw, J. (2021). A concept for crystal placement and 
form and silhouette for ‘Communication’ [Mixed media].



55 56

7.1 Draping – Mindful decision making
One of the most critical factors when working with crystal healing and 
the chakras is a sense of awareness, as "meditation and concentration…
can have a healing effect” (Theosophical Classics, 2020, 31:58). This had me 
considering how to inspire mindfulness when in contact with the clothing, 
and bringing focus to the behavioural design qualities as one of Norman’s 
three primary design concepts. 

As the designer, I worked to be mindful through the practice of draping 
as it allows me to fully consider how the fabric reacts with different 
manipulations, and how this might change when holding a body within. 
Furthermore, working directly on the body enables me to understand and 
play with how the point that holds the crystals and gemstones might come 
in contact with the body, which I have used as the formation point of each 
garment. With this process, I worked between full scale and half-scale 
to work through design iterations and experimented with selected fabric 
manipulation techniques to build onto and away from the body so that 
each garment could visually and physically represent crystals and gems 
and their assigned chakras.

So as to consciously make design decisions, I have chosen to create three 
particular emotive garments. These are for the bodies of courage, love and 
communication. 

7.2 Garment for courage
The first garment works to evoke courage by encapsulating zircon, red 
jasper, and black onyx, as well as its association to the Root chakra. The 
point of contact for the body and garment is in the area where the spine 
ends, both at the front and back of the body. This is seen in figure 39.

I feel that courage is considered by many to be a strong and clear state. 
With this in mind, I have designed ‘Courage’ with emphasis on the base 
of the body and around the structure of its accompanying textile design. I 
have used the softly curved corners that form the grid of the textile design 
as the design lines within the jumpsuit. The lines of this motif form the 
neckline, the panel lines, both at the front and back of the garment, as well 
as the panel lines between the front and back, and side panels. Utilising 
these lines not only visually references the textile motif, but also allows 
me to fit the garment close to the body. Although the form of the jumpsuit 
is structured, I still want it to be comfortable and evoke the softer essence 
of emotional well-being, which guided me to quilt the fabric for the front 
and back panels. Working the fabric in this way softened the tactility and 
conversely offered me greater structure for these form fitting pieces. 

Fitted within the front and back panels at the point of the end of the 
spine, are two smocked panels, which hold the encapsulated crystals. 
This smocking visually references lines and shapes found within crystals, 
as well as the intermediate spaces between the motifs within the textile 
print. I fused the top layer of fabric to strengthen it as this sits at a point 
of the body that moves and comes into contact with outside forces more 
regularly. I have chosen not to fuse the fabric on the inside so that the 
wearer of the garment can more easily feel the shapes and textures of the 
crystals within. 

For comfort and ease of wear, the side panels are expansive. At the scye, 
I have sewn in elastic so that the garment fits the body within. Moving 
down the side I have opted to utilise drawstrings, distanced 8cm from each 
other, so that the wearer can work with the garment to create a feel and fit 
that suits them. These are spaced at 8cm in reference to the textile motif, 
which is based on the root chakras 4 spokes in both shape and size – it 
measures at 4cm. Having the drawstrings at 4cm would be too excessive, 
and so I have placed them where every second motif would be. Utilising 
drawstrings in this way also allows for the fabric to be manipulated in a 
way that, again, visually refers to forms found within crystals. To further 
enhance the wearer’s engagement with the jumpsuit, the closure works as 
straps that tie at the shoulders.

All the seam lines are bound in black, and the drawstrings and shoulder 
ties are also black. This not only calls to mind some of the gems 
encapsulated within, but also bears semblance to the textile motif that is 
lined in black. These details and features are shown in figures 40 – 45. 



57 58

Figure 39. Louw, J. (2021). The placement of crystals for 
‘Courage’: on the body and in the garment [Mixed media]. 

Figure 40. Louw, J. (2021). Front view of ‘Courage’ 
[Photograph].

Figure 42. Louw, J. (2021). Focusing on neckline, straps and 
body of ‘Courage’ [Photograph].

Figure 41. Louw, J. (2021). Back view of ‘Courage’ [Photograph].

Figure 43. Louw, J. (2021). Close-up side view of ‘Courage’ 
[Photograph].



59 60

7.3 Garment for love
Encapsulated within this garment is rose quartz, rhodonite, pink 
tourmaline, and, moss agate, which work together alongside the Heart 
chakra to evoke love. The general area over the breastbone, both at the 
front and back, is where the garment needs to work close to the body. This 
is seen in figure 46. 

The idea of love is very abstract; with so many forms of, and ways to 
convey it. As such, I feel it is important for the garment to work to this 
untethered concept. To continue to merge all these various design 
elements I am using the motif within the textile to guide the shape and 
design of the garment. I have cut the motif in half and expanded it out to 
measure 1m in length and 2m in width, in consideration of the chakras 12 
spokes (1 and 2). I used these dimensions to cut a half circle from fabric. 
On this I measured out the spokes of half of the motif, which are the fine 
pink lines running from the centre of the shape, from the centre of the 
edge on the 2m side. Working with these lines, through the process of 
drape, I have worked to form a soft yet full silhouette over the body. These 
lines guide drawstrings through the dress, which allows the wearer to 
decide on a style that suits them and their need. This gathering explores 
the softness of this abstract emotion and shapes within gemstones. This 
is layered over sheer green silk that is cut straight and gathered, in mind of 
the rigidity found in some crystals. The front and back are symmetrical in 
order for the body to represent the full motif within the textile.

At the neckline, both in the front and back are two panels in the shape of 
the half motif just mentioned. This is where I have encased the crystals. 
The outer fabric has been fused to strengthen the fabric – for the protection 
of the crystals, as well as for the integrity of the designed garment. The 
inner layer is not fused for the same purpose as ‘Courage’, to allow 
awareness of the gemstones within. To encase the gemstones, I have sewn 
together these two layers of fabric with lines that follow the spokes, in 
order to separately secure each crystal within. The neckline runs straight 
across, so that the garment stays against the body at the chest area, as 
well as for ease of wear and comfort for a wide variety of people. This 
comfort is further explored in the design of the layer underneath. It has 
been cut straight to fit closer to the body, and though there are no attached 
side seams running lengthwise, the front and back are brought together 
with an elasticated band by the scye and ties between the front and back 
to ensure fit. As with the other garments, to slow down the wearer when 
getting dressed, so as to garner a moment of mindfulness, the dress is 
worn with ties. The ties form straps at the shoulders. 

I have used binding at the neckline, armholes, seams, and panel edges. 
This, the ties which form the shoulder straps, and the drawstrings are 
all pink, so as to counterbalance the green silk layer underneath, as the 
crystals and textile design are comprised of both. 

These elements are all shown in figures 47 – 52.

Figure 44. Louw, J. (2021). A closer look at the panels on the 
front of ‘Courage’ [Photograph].

Figure 45. Louw, J. (2021). A close-up of the drawstrings and 
gathering running down the side of ‘Courage’ [Photograph]. 



61 62

Figure 47. Louw, L. (2021). A close-up of the draping of the 
gathered fabric of ‘Love’ [Photograph].

Figure 49. Louw, J. (2021). Back view of ‘Love’ [Photograph].

Figure 46. Louw, J. (2021). The placement of crystals for ‘Love’: 
on the body and in the garment [Mixed media].

Figure 48. Louw, J. (2021). Side view of ‘Love’ [Photograph].  

Figure 50. Louw, J. (2021). Front view of ‘Love’ [Photograph



63 64

Figure 51. Louw, J. (2021). Side view of ‘Love’, looking at the fall 
and drape of the silk [Photograph]. 

Figure 52. Louw, J. (2021). Close-up of side view of ‘Love’, 
detailing at the scye [Photograph].

7.4 Garment for Communication
This garment holds amazonite and lapis lazuli. Placed at the point of the 
throat chakra, it works to encourage communication. These are held in 
place at the front and back of the neck, where the throat is. This is shown 
in figure 53. 

Communication occurs upon interaction with other people, as it requires 
us to read a situation or person and respond accordingly. In the design 
of the garment, I am reflecting these different forms by working with 
intensive gathering as well as softer folds across the body. Because the 
point of the throat is so particular and quite small in area, I designed the 
garment in direct relation to how the fabric falls from this space. 

The crystals and gemstones are encapsulated at the throat between two 
layers of fabric that have been stitched together with smocking techniques. 
This not only refers to lines in crystals, but also offered me enough fabric 
to create a full dress. As in the other garments, the outer layer of fabric 
where the crystals are held has been fused to give some extra strength, 
with the inside layer left unfused.

From where the fabric fell over the body across the front, I have worked 
down and around the body, gathering the fabric in lines that form a similar 
shape created by the spokes within the motif of the textile. The throat 
chakra contains 16 spokes, but I instead have conveyed only 8 with the 
design lines, as working with 16 would only form confusion within the 
limited amount of fabric instead of enhancing the design. Instead, I have 
subtly referenced the rounded 16 spokes in the motif through the cut of the 
shape at the back, where the fabric is sewn in to fold over itself, and the 
shaping of it as it runs into the side seam.

Most of the gathered lines are elasticated, as it offers greater comfort not 
only while wearing the dress, but also in the process of dressing. Two of 
these lines are gathered with a drawstring instead so as to ensure a better 
fit around the body and across the bust, allowing easier wear for changing 
body shapes. This allows for the keeper of the garment to wear this 
garment for longer, as their body changes over time. This dress, like the 
other garments, is also worn with ties. The straps of the dress come up to 
tie over the shoulders, and the neckline is gathered close to the body with 
small ties at the throat.

The dress is lined with a darker blue silk, which draws out some of the 
blue within the print design of the outer layer, referencing back to the 
visual states of agates. This is further enhanced in the ways I have allowed 
it to be seen as a second layer at the hemline, as well as in utilising this 
fabric to create a contrasted binding and the drawstrings and neckties. 
The binding is used at the scye, shoulder seams, and straps, creating a 
contrasted edge along the printed silk. These design elements are shown 
in figures 54 – 60. 



65 66

Figure 54. Louw, J. (2021). Front view of ‘Communication’ 
[Photograph].

Figure 56. Louw, J. (2021). Angled, right side view of 
‘Communication’ [Photograph]. 

Figure 55. Louw, J. (2021). Left side view of ‘Communication’ 
[Photograph]. 

Figure 57. Louw, J. (2021). Close-up, right side view of 
‘Communication’ [Photograph].

Figure 53. Louw, J. (2021). The placement of crystals for 
‘Communication’: on the body and in the garment  
[Mixed media].



67 68

Figure 58. Louw, J. (2021). Front neckline of ‘Communication’, 
looking at the straps, gathering, and smocking [Photograph]. 

Figure 60. Louw, J. (2021). Close-up side view of 
‘Communication’ [Photograph].

Figure 59. Louw, J. (2021). Detailing at neckline of 
‘Communication’ [Photograph]. 

Part Two

Chapter Eight
Considered 
Wear and Care



7069

8.0 Considered wear and care
A driving factor in designing these garments is the need to consider the 
effects of clothing, not only on our personal lives and well-being, but 
also on the world around us. To address these effects I am looking at the 
physicality of the clothing, through the requirements of wear and care of 
the fabrics and the garments they make up, and how we can use this to 
form strong emotional relationships with our wardrobes.

I was able to consider the way the garments may be worn, so the clothing 
is designed and made to be a more interactive practice for the wearer, 
with fullness, gathers, and closures being guided by the body within the 
garments. Each garment encourages slowness through the use of ties and 
drawstrings, which requires the person wearing the garment to actively 
engage with the clothing, creating somewhat of a ritual of the process of 
dressing. This is shown in figures 61 and 62.  These moments for reflection 
and mindfulness are also incited by the care of the garment, as through 
the use of silk and crystals, the clothing needs to be hand-washed and 
carefully dried and stored.

I wanted to work with silk, a natural fibre, for its unique combination of 
properties including its natural lustre, strength, the way it lends itself to 
draping and movement, moisture absorption  and its feel (Kadolph, 2007). 

The designs are printed on 85gsm, 100% Silk Satin from Contrado. They 
state, “Our fabrics are all printed using completely water-based inks. This 
means no chemicals or solvents are used. Our heat fixing procedure fixes 
the colours and prints, avoiding the downsides of steaming, such as excess 
or contaminated water returning into the waste system” (Contrado, 2021). 
I chose this fabric, as it is a durable, natural fabric with a beautiful lustre. 
In addition, according to the CFDA, silk “is a renewable resource, can 
biodegrade, and uses less water, chemicals, and energy than many other 
fibres”(CFDA, 2016). 

Though it is a smooth fabric, it isn't as slippery as many synthetic fabrics 
and was also the strongest fibre before the invention of synthetics. Because 
of its makeup, silk is hypo-allergenic. It also works to stay cool in warmer 
climates and is warm in cool temperatures as it is a poor conductor of 
heat and has good moisture absorbency. However, heat can cause silk to 
shrink, and it also loses its strength when wet, so it is essential to consider 
how to look after the fabric. This, alongside the inclusion of crystals and 
gemstones in the garments, means that I will advise that the clothing be 
hand-washed and dried in the shade, lying flat. Though this means more 
work and care taken by the custodian of the garment, it also helps to 
inspire a more mindful relationship with the clothing, which was a driving 
force behind this project.

Figure 61. Louw, J. (2021). Tying the drawstrings on the side 
panel of ‘Courage’ [Photograph]. 

Figure 62. Louw, J. (2021). Tying a drawstring on the front of 
‘Love’ [Photograph].



7271

An Emotive Wardrobe

Clothing for courage, 
love & communication

Summary &
Reflection



7473

Figure 63. Louw, J. (2021). Front view of ‘Courage’ [Photograph].

Courage
Black Onyx, 
Red Jasper, 
Zircon
Root Chakra
Shown in figure 63



7675

Love
Moss 
Agate, Pink 
Tourmaline, 
Rhodonite, 
Rose Quartz
Heart Chakra
Shown in figure 64

Figure 64. Louw, J. (2021). A closer study of ‘Love’ [Photograph]. 



7877

Communication
Amazonite, 
Lapis Lazuli
Throat Chakra
Shown in figure 65

Figure 65. Louw, J. (2021). Side view of ‘Communication’ [Photograph]. 



79 80

Reflection 
This reflective, practice based project, works to create a wardrobe 
that explores the emotionality of the wearer. By integrating crystals in 
alignment with the chakras, we can use clothing to create a space for 
reflection to understand our emotional and mental needs. 

Through my ‘considered’ design development process I wanted to be 
sure that each design decision worked towards achieving a certain 
emotional or mental state, offering a safe space for the wearer. This was 
supported through the cyclical process of action and reflection, which was 
implemented as I worked through different elements for the garments. 
These elements were developed and formed over the course of this project, 
as they were guided by research and conversations and critiques. Through 
conversations with others I was able to garner responses from different 
people so as to move forward in my design work, knowing what elements 
people positively responded to more.

By applying crystals as tools of healing in correlation to the different 
chakras, with consideration for people’s opinions and responses, the 
clothing works as an affective object, to positively influence the wearer. 
To ensure the positive affect on our well-being the three components of 
‘positive design’ were addressed. Design for pleasure is achieved through 
the clothing addressing the subjective well-being of the wearer, which 
allows more pleasurable interactions with other people and things. 
Personal significance is centred on the crystals and chakras, which 
enables us to evoke a desired mindset or emotionality, the clothing is 
also made to be visually and physically stimulating through the colours, 
print, and fabric manipulations implemented. Lastly, design for virtue led 
to only using crystals that were sourced second hand, and silk, a natural 
fibre. In addressing virtue, the wardrobe works as a tool people can use to 
participate more confidently in their own lives, allowing them to be better 
(Desmet & Pohlmeyer, 2013). 

It is through the garments’ affect that we are able to address our emotional 
well-being, as the exchange with our clothing gives us time to be mindful 
about what we feel we need to focus on or work towards in our daily lives. 
This is encouraged through certain design elements, in particular, the way 
the garment is put on. Alongside this process of dressing, other aspects of 
the wardrobe could spark mindfulness and conversation, such as the care 
of the garment. 

By reflecting on and addressing particular emotional needs the wearer 
can actively work towards being emotionally well. Our well-being, both 
subjective and emotional, effects our self-esteem, and consequently the 
way in which we interact with our lives – what we do and how we act, 
and, our relationships with others and ourselves. When we have good 
self-esteem and good relationships, we are able to more clearly express 
our desires and needs to others. This creates a space in which we feel 
comfortable enough to converse about how we are feeling and why. These 
conversations about emotionality are able to take place more easily when 
we have addressed our emotional well-being, but this project works to 
encourage them further, through the visual qualities of the garments. 

Through combining vibrant textiles, varying textures, and strong 
silhouettes, the clothing sparks interactions between the wearer and a 
viewer, whether simply as a moment of seeing and being seen, inspiring 
a passing comment or invoking a deeper conversation formed around the 
meaning behind the pieces. This comes into play, as people understand 
clothing to be a tool we all use to convey certain things about ourselves 
(Davis, 2013). 

In order to progress into new systems for fashion it is vital for us to 
rework the way in which we design and consume. By applying methods of 
considered design and working with clear intentions such as those set out 
by the ‘Positive Design’ framework, we can actively guide the way clothing 
is regarded and interacted with. This process of design provided me with 
a new way of working and making decisions. It required me to be very 
particular in my methods, as each element has to work in conjunction with 
the rest to achieve particular emotive states. With this reflective process 
guiding me, I wanted to reflect this in the making of the clothing, and so 
worked in ways that slowed me down, such as through draping. As the 
maker, my design decisions also slowed me down. I had to cut and make 
all the binding, gather and pleat fabrics for different design elements; quilt 
custom textiles and hand sew fabrics into smocked panels. This slowness 
allowed for reflection and mindfulness through the making process, which 
I feel, allows for the way the garments work as affective objects to extend 
beyond their intent as emotional tools for a wearer. 

In working this way, I was able to move away from designing in accordance 
to seasonal trends. My work, not being dictated by global fashion trends, 
instead keys into changes we are seeing in the fashion industry, especially 
from smaller creators, and from researchers such as Kate Fletcher (2014). 
This is important, as endless growth and consumption are the driving 
factors in the industry at the moment, which is highly unsustainable, 
with populations growing and resources depleting. By refocusing the lens 
of fashion to be centred on positively affecting the users, we can work 
to design a system and product that works with us to garner stronger 
connections between ourselves and others, as well as the things we are 
in contact with daily. These connections between people and affective 
objects work together to enhance our well-being. It would be interesting 
to see how other people utilise these ideas or work within this space, how 
other designers might centre their work around well-being and affect, and 
in what way wearers might embrace these ideas and implement them in 
their own consumer practices. 

Beyond the scope of this project I want to investigate the way these 
garments work for different people, and how others might access and 
engage with the clothing.  The emotional affects of clothing will be a 
guiding force in what and how I place myself in the industry. It is important 
for me to focus on how we interact with the things we wear, and how these 
interactions can build a long lasting rapport between ourselves, the things 
we use, and other people. As a designer it is my responsibility to engage 
with the ways the fashion system effects others – the users, makers and the 
resources – and to improve these effects so that we can flourish.



81 82

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Figure 9 Edwards, C. (2021). The Cycle of the Methodology of Action Research.

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Figure 11 Louw, J. (2021). Sample of crystals secured between layers of fabric, stitched in 
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Figure 12 Louw, J. (2021). Sample of crystals covered in fabric, held in place with copper 
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Figure 13 Louw, J. (2021). Sample of crystals held by fabric and button holes 
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Figure 14 Louw, J. (2021). Sample of crystals encased in smocked fabric [Photograph].

Figure 15 Louw, J. (2021). Black Tourmaline and Banded Jasper reflected in sample of 
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Figure 16 Louw, J. (2021). Rhodonite and Carnelian reflected in sample of gathered 
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Figure 17 Leadbeater, C. W. (1927). Clairvoyantly observed chakra depictions 
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