Evaluation

To evaluate.
I have found this unit X project to be quite an odd one for me as a creative practitioner but I feel like I have learnt alot. It has left me with a thirst for knowledge and skill, a desire to not cut the cord here.

I found parts of this project quite difficult and as a result of that, I lost a fair bit of time. I was struggling with my output and got caught thinking that for myself I had to come out with a finished design product. Although I resent the time I wasted during this period, I do not regret it as I feel it is all part of the design process and has helped me get to the stage I am currently residing at. It is through my own error that I misdirected some of this time, where I let the fun deteriorate in an attempt to become something I didn't need to be, by focusing on the design and function of a headpiece, I lost the joy of creating fabrics.

To where I am now I am pleased with my progress, I am not altogether satisfied with my samples and feel there is much room for furthering and developing them but I am enjoying their growth. I feel I have managed to begin to capture some of the ideals I work towards, building up peculiar landscapes of not obviously identifiable materials. They are primarily designed for the intent of fashion fabrics but I like that they lead themselves to many other directions.

I think my materiality could have been slightly more adventurous. The use of the silicone and latex has worked well. I feel I work well with painterly DIY materials, I like the idea of utilizing them in an alternative context. But I feel quite safe with these and in the future think I need to branch out a little further, acting as a magpie for the weird and the wonderful.

In terms of process and technique I also believe I have allowed my horizons to be broadened a little in this project which I believe is all useful experience for the professional world. Now having experience with the lazor cutter and embroidery machines. Also as of this week, whilst trying out different options for the portfolio, I learnt alot more about photography and have picked up some basic Photoshop skills.

I feel I work through stepping stones in my design process, starting small and safe and then gradually building from stone to stone. I feel this can be seen in both the practice and unit X unit. It is therefore I want to carry on building, I feel the scale of these fantasy landscapes I am creating has yet to amount to all it could be. This is something I hope to explore more outside of this project.

Overall I am indeed quite happy with how this project has turned out, I am proud of how I turned it around and excited by the possibilities that could await.

Online presence.

The idea of the online portfolio, is a popular and efficient way of making yourself as an artist//designer more accessible, allowing for prospective employers and clients to get a quick snapshot into your practice. Allowing people to make a swift decision to whether they are intrigued on uninterested.
It is therefore I think very important that I create one which best represents me. In response to this I have decided to set up a number of different outputs, setting up a website, an arts thread account and a linkdin account. All of which I hope will grow with me as I grow as a practitioner.

My website
My arts thread
(will be complete for the Tuesday deadline)

Lucy Folk

Lucy Folk is an Australian Jewellery Designer whoms collections of pieces are set to groups and types of food. Even though for this moment in time I am currently no longer embarking on the jewellery direction, I have found her to have been relevant to my fabric samples. The more I make the more my fabrics are resembling food. As I make I feel like I am cooking, weighing out ingredients and icing buns.

Though Lucy Folk normally represents this in quite a literal fashion, her latest collection entitled Dip is slightly more abstract, where she "submerges signature staples in classic condiments".

Dip Tzatziki Splash Necklace

 

Dip Fabulous French Fries Necklace

"the Fabulous French Fries Necklace is a handful of yummy french fries in yarn dunked in a spiced salsa of peppercorn, orange agate and gems."

Similar to my intentions, she uses a combination of the literal and the abstract to form something of intrigue. 

Latex islands, caves of cotton wool, the beginnings on a delectable iced bun?

Karen Nicol

Earlier in the year, in the previous project, there was a talk given by the textile artist and designer Karen Nicol. Specializing in machine embroidery, Nicol has worked with many fashion designers, working as the embroidery designer, helping to form spectacular pieces.

I found the whole talk fascinating and very relevant.
Once the talk was finished Karen had some of her work laid out and she stuck around to talk a bit about it. What I found to of been the most interest was her idea of a portfolio. She keeps a large sketchbook, full of samples, roughly and accessibly applied. To allow any potential client to really get an idea of what she is about.

Although the work is not personally up my street, I really admire her and how she goes about the job she does.
For my portfolio I want to replicate the idea of this, having a book/box of tactile taster samples as well as a portfolio of artistically applied photographs. For assessment this will be unfeasible due to the fact that my samples are part of my final outcome, but it will be something I will take forward with me into the future. I want to begin to build up a book like this, a book of beautiful embellishment and fun. A portfolio in construction, growing and multiplying. Something I will then take around to prospective employers or clients to showcase a good representation of myself.

Latex dreams
I first began to apply the latex mixed with the acrylic in a subtle way, a subtle alternative to beading, as can be seen here with the blue dashes. It was a technique I was pleased with and thought to be quite interesting but it was indeed subtle, safe and in hindsight very unaffected.

Which is when I came to the conclusion of the possibilities of latex, if it could cover beads and give a lovely effect what could it do when applied to a bigger scale? The below images are some of my results, beginning to create otherworldly surfaces. The latex creating a hardened light exterior, also acting as a glue to attach and embellish on top of. I would like to experiment with these scaled up and on larger pieces of fabrics with complete covering.

Photoshop and Cameras.
My digital skills are not something I particularly pride myself in, rather my knowledge is low and due to this I tend to avoid it. But with the ever pressing view towards professionalism, it is starting to become apparent that perhaps with a little more insight it would both enrich my practice and aid me a little more in the direction of employability.

expect to feel pleasure, knowledge is sexy.
expect to feel pain, Knowledge is torture.  
Jeff Noon, Vurt

The photographing and digital image side of my work has always been weak but I think today I may have started to put a crack in the side of it. With the desperate need to get some really interesting images of my work for my portfolio I have been playing around with the settings, learning how to apply to correct apertures and shutter speeds to capture an exciting image.

Christian Joy

http://christianjoycostumes.tumblr.com/

Christian Joy uses her approach to fabrics, clothing and costume in a manner of fun and playfulness. Being well known for her many costumes for Karen O, the lead singer of the Yeah Yeah Yeahs, she creates bold, original designs with a high emphasis on the decorative nature of the fabrics. She isn't shy of colour or texture, everything is bright, odd and far from average.

 http://www.christianjoy.us.com/work/#/kareno/

I like her approach and feel her point of view is relevant in my own work. Using fabric as a way of expression and having fun with it, creating worlds within her designs. This is something I wish to pursue in the future and an outlet for design I would like to explore, working with a fashion designer on the constructions of decoration.

Embarking on a new direction.
After the two tutor group crit it became apparent that I was maybe forcing my work into a direction I didn't need to worry about just yet. Spending too much time worrying about creating a product rather than allowing myself to really experiment and create something interesting. Seeing as I already had the beginnings of what could become an interesting pallet of fabric samples why not continue along this line of work. This revelation left me with a feeling of relief and excitement to get on with the task in hand, something I hadn't felt in a while for this project.

 

Matisse

Over the Easter break I was able to visit the Matisse exhibition at the Tate Modern.

The Parakeet and the Mermaid

There is a certain symbology to Matisse's cut outs, without the use of detail, Matisee utilizes the positive and the negative space to provoke the design and intrigue.

They contain a form of landscape abstractions but also transport you to within a new alternative landscape. Symbolizing coral/leaf algee like forms, fruits, fish, birds and the presence of a human touch, it almost becomes a mystical pretense.

A certain symbology and an un-eveness, imperfections welcome.

I was surprised by the show, it felt a lot more relatable and human but still in a sensational manner. It inspired me to be more bold and experimental with my application to cut outs, the possibility of layering up and how well this could translate into fabrics.

An attempt for me to start to rationalize this application into my own fabric samples, utilizing the cut and imperfect finish, something I will explore more during this project.

market research

Topshop jewelery

1.

2. and 3.

Its is all about the finished edge, an element of professionalism, an attention to detail, every aspect considered. I feel the first necklace is an example of this, it is not the main feature that is souly considered, it is the consideration of the chain and fastening that adds up to something of higher interest. This is also something that effects the price range of an item.

But what I am foremost looking to illustrate here, is the technique represented in the second two necklaces, the beaded intersections, where the beading and embellishment is applied onto a harder surface. It is something I find intriguing whilst looking into the consideration of how to finish of and neaten my skull caped head wear.

Skull caps

I have been finding this project difficult due to the prospect of possibility and time constraints. The unlimited possibilities of technique and outcome have been bounding me rather than liberating me.

I have therefore decided to embark on a prospective outcome and from there within these chosen constraints I can allow myself to experiment along its design journey.

That chosen outcome is the idea of a cutwork form of skullcap through using the techniques of free machine embroidery and bonding.

Upon looking up the definition of veils, I came across the definition of "Protection from the elements". From this I was inspired to use this to become, protection from the elements with the elements. Using an elemental symbology to construct a skull cap and attachable veils.


TO WRITE A NEW MANIFeSTO

a childlike naivety
a DIY aesthetic
painterly
an element of fun
edges are important
head cages and harnesses

Veil definition - For protection from the elements

Protecting with the elements,
Protection, shield, cushion, screen

Endeavors in free machine embroidery cut work for the skull cap. The above images are for a calico toile, where I was attempting to work out the shape and form that the cap would make, using a pattern of sunshines and demon explosions. This has half worked, although the wadding applied has not given it enough bounce which has also resulted in making the form too stiff, it doesn't flow with the head. This will have to be something which is addressed.

VEILS + CUT OUTS

It was mentioned in my feedback from the previous project that I should begin to consider creating my own netting to build upon. After a few futile attempts of knotting systems, I began to consider the idea of the cut out. Creating the netting myself, by leaving a skeleton of the original fabric. By doing this by hand I think it does give it an interesting quality but when trying to get more of a regimented pattern, it became alot more time consuming and messy, hinting for a bit more refinement.

From this I came to the decision that I should use the laser cutter, a much quicker (once the file was prepared) and precise process. I do still value the initial hand cuts and think they have potential but the laser cuts have produced an excting surface to build upon. Especially the one on the smaller scale, where it has seemingly been cut so close together the fabric has slightly melted and it has resulted in a very similar quality to netting. Giving a deceiving strength to a fabric that was initially relaxed.

UNIT X

NETTING SKELETONS
To begin. For this new leaf of project I want to begin with continuing the idea and surface construction of the veil. Skin is important. Looking to use netting as a skeleton and vessel to build upon, creating areas of disguise and areas of clarity. Continuing with the elemental colour symbology to illustrate.

I have been focusing on ways in which to build up a solid surface, allowing for areas of revealing and concealing what lies beneath. The above samples have worked in certain ways but seem to be a bit crafty, the colours certainly need work as they are not satisfying my pallet. I think these techniques could work, but need to be explored more and maybe viewed with a technique of more refinement, I like the contrast.

My minor and major project have quite a clear progression from one to the other. For my minor project was the experimentation with charms and materials, working small, finding my feet, testing the elements. Working with macrame, painting stones, resin, tassels, paper rolling, making my own beads. This led on to a breakthrough moment with the use of wrapping and the figure of 8 wrap around chain, propelling me into my major project. I experimented with the idea of line through chain wraps keeping a strong element of fun with the proposed outcome of pushing the work for my live brief, the L'aiguille en Fete in Paris. My major project became a feed for my live brief and therefore on the deadline of the live brief, it slightly felt like my major project had concluded to give way for the next part. I had been growing increasingly interested in constructing headwear, the idea of chained cages upon which to embellish and adorn. For unit X I intend to carry through the part of the project I have already embarked upon, inquiring into head wear and masks. Head cages and veils. Experimenting more with the application and the embellishment. Revealing and Concealing the face.

I think I have worked well through this project and although it took me a while to find my feet, this can really be seen through the progression of my work. I am beginning to get quite a clear idea of where I want to take my work in the future and am looking forward to Unit X, where I will continue the progression of the phase of the project I have already started.

With a growing relationship with materials I have more and more references to refer back to in the coming project. Many of the techniques I have used in this project I hope to utilize in the next and by keeping technical notebooks both to help me think and to construct plans and record processes, this should aide me.

Contextual references and inspiration are important for me in my working progress. At the beginning of this project I don't feel I cast my net wide enough, not studying a varied or extreme enough artists/designers. As the project continued I feel I began to see this and alter it accordingly.

For Unit X I need to improve on my photography skills and start photographing my pieces upon the body, something that I haven't utilized enough in this project. I think by doing this I can start to look at the styling and visualization part of my work, experimenting with how I want it to be portrayed. I also want to play with a more handcrafted idea of visualization, experimenting with collage, to propose an idea of head wear without it being too literal.

Meadham Kirchhoff

Veils at Meadham Kirchhoff

Fall RTW 2014

FALL 2010RTW

Meadham Kirchhoff as well as having extreme high fashion collections have also done collections for Topshop. Where what I like about Meadham Kirchhoff in particular is that even though the clothes have to be paired down for a high street customer budget, they still seem to stay reasonably wild and true to their design ethic. Creating crazy interesting designs for both sides of the budget market, therefore providing for a wider audience. This is something I would like to explore in my future practice, and the idea of collaborating with established retail stores.

All Images Harpers Bazaar

experimenting with veil and head cage constructions

caged constructions

bigger veil

smaller veil

Even after cutting the veil down to size, I think I still need to work on the sizing a bit, as it is still a bit too buoyant. As I used quite a wide width of veil it has made the top of it stick up maybe a bit too much. I also need to continue the embellishment of the veil as the build up of decoration is not at a high enough degree yet. I want it to be half mask, half veil, revealing and concealing parts of the face.

Silicone and beading.
Building a surface.

Luetton Postle

Leutton Postle

craft contained.

Leutton Postle are a knitwear brand whom launched their first collection at London Fashion Week in September 2011. Although they are a knitwear brand they have a strong focus on craft and claim to be "unlimited" by trend.

It is this craft led element that really intrigues me. Their work is fun and colourful and full of textures and surfaces. I think their audience is where I see my own practice, high fashion for primarily womanswear, for a customer not afraid to be bold with colour and striking with their appearance.

I would also like to collaborate with brands like this, with a similar ethos, working on the jewellery/accessories side of it.

 

http://leuttonpostle.com/leutton-postle-aw12-backstage/

 http://leuttonpostle.com/wp-content/uploads/photo_39-1200x1600.jpg

When Sam Postle from Leutton Postle came in to give a talk on their brand one of the things that really stuck in my mind was this idea of the pyramid, how they do their pricing and making accordingly. That as a design company you need to have a range of prices and accessibility. So at the bottom of the pyramid you have lots of the less expensive range, allowing for people who aren't so well off to still be able to invest in your brand. Then at the very top of the pyramid, have a show stopper of a piece but only have one or two of the them, that are priced at a much grander amount, for the workmanship accordingly.

I thought it was a very good way of describing it and a good model to work by, especially as new designers. Creating a couple of showstoppers to get yourself noticed but also having more accessible wearable items. A good economical model and a good customer model.

This is something I want to investigate in my own practice and something I think that will really push me to both consider the customer and the experimental nature of the show stopper.

Outward facing aproach

The whole experience of working towards the Paris exhibition definitely moved my work forward. Firstly the push of the work having to be good enough, when the pressure is not solely being applied by yourself, I think it made me more meticulous and there is a sense of pride there that you don't want to represent yourself badly.

Photograph from Paris courtesy of Elnaz Yazdani

The work is now also going to be exhibited at Stockport Art Gallery in a couple of weeks. This will allow for an opportunity that due to the timing of Paris was unfortunately not possible before, that I will be able to put up and curate the work myself. I feel like this will be a good learning experience and will give me a chance to play around with the arrangements.

I have enjoyed the experience of working towards an exhibition, considering the work in a different manor. It is something I would like to do in the future as well as creating for the body also.

KARLA BLACK

Karla Black on materiality, I like her relationship with materials and the outcome they announce. She uses a little bit of this and a little bit of that. Using a degree of the DIY aesthetic I am wishing to pursue. 

Using materials such as bath bombs, cellophane, nail varnish, lip gloss and shampoo but along with more substantial materials such as water colour to create these really sort of ethereal sculptures. From looking at the sculptures you cannot always presume the materials, and this is something I am keen to capture in my own work. Using such household diy and cosmetic products but in a way of delicate of touch, not always to be presumed as to their origin.

  Nail varnish, acrylic ink, glitter and silicone sealer on veil netting.

I want to add to this use of surprise DIY materials.

Zana Bayne
http://shop.zanabayne.com/product/woven-face-mask

headwear
how to apply
harnesses 

Beginning the growing into head wear cages, using chains to create forms.

PARIS

Paris. Live Biref.

Final cut.

Bulbous interventions.

An investigation into the 'line', with a strong element of fun.

Bulbous adventures.

A step to step process

A hopscotch affair.

Landscape abstractions.

Using a range of juxtaposed accessible materials I wanted to play with line looking forwards to a body adornment conclusion. Using chain as a skeleton to build upon, I was able to build up areas of bulbous appeal.Spanning from an elemental exploration, using a colour symbology.