Stölzl began trying to move weaving away from its ‘woman’s work’ connotations by applying the vocabulary used in modern art, moving weaving more and more in the direction of industrial design. By 1928, the need for practical materials was highly stressed and experimentation with materials such as cellophane became more prominent. Stölzl quickly developed a curriculum which emphasized the use of handlooms, training in the mechanics of weaving and dyeing, and taught classes in math and geometry, as well as more technical topics such as weave techniques and workshop instruction. The earlier Bauhaus methods of artistic expression were quickly replaced by a design approach which emphasized simplicity and functionality.