Fashion Textiles and Accessories Brochure 2019

Fashion Textiles and Acessories is a specialist course, providing opportunities for students to develop in-depth textile design expertise for the fashion industry. Our student investigate and provide new creative directions for fashion forward, luxury and innovative design approaches for fashion material culture.

We aim to produce versatile fashion specialists through the course’s philosophy of exploring and combining a broad range of practical skills. Students explore materials and technical approaches across print, stitch, embellishment and knit, as well as complimentary skills in CAD, design communication and 3D product realisation.

A strong emphasis is placed on nurturing research, conceptual, creative and technical skills, coupled with the development of essential fashion skills such as pattern cutting and visualisation. This allows students to become conversant in a broad fashion context, whilst honing their specialist textile design skills. Our course encourages students to show a commitment to the practice of design that is forward-thinking, innovative and original. Providing a learning enviroment where we prioritise the development of each student’s visual language, design identity and understanding of their place in the wider industry.

The course believes in creating an environment of choice, allowing students to determine their own creative direction. Our students have the option to choose or mix technical specialisms, directing their studies as appropriate to their style, context, technical skills and market focus.

Students this academic year have benefited from the state-of-the-art Vijay Patel Building, the centerpiece of DMU’s £136 million campus transformation. This art and design facility shows how serious we are about giving our students the very best experience and to provide them with the tools to achieve their aspirations.

Contact us: Programme Leader - Alan Beattie abeattie@dmu.ac.uk De Montfort University Leicester The Gateway LE1 9BH

HETTIE ATKINSON JESSICA BAKER-HOLLINWORTH ELLIOTT HUNTER BLAIN RAYEANNE BLACKWOOD ARIANA BRADBERRY CHARLOTTE BROOKES JOUHENA CHOWDHURY

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AMBER-SIMONE GAYLE PEBBLE HAYWARD-LOWE RIANNA IRVINE NAN-YOUNG KIM VICTORIA KUSIMO KATHERINE LAMBERT ELEANOR LOUCH EILISH LYNCH PRIYAL MISTRY MUFARO POLI ISOBEL UPJOHN

FASHION/TEXTILES.ACCESSORIES

Project Manifesto My final collection explores a playful and experimental side to traditional screen printing methods, showcasing a love of bold colour and texture whilst creating a combination of graphic shapes and pattern. The initial inspiration for the project came from the ostentatious tastes of the Victorian period. Playing on ideas of a ‘sickly sweet’ girlish aesthetic and extravagance almost to the point of vulgarity, with this reflecting in the sugary soft pastel colours amongst areas of bold garish colour in contrast. Driven primarily by colour and texture, my aim for my textiles is to provoke curiousness and a desire to touch.

Contact:pebblehlowe@gmail.com

PEBBLE HAYWARD-LOWE.PRINT

Dress: Screen printed viscose

EILISH LYNCH.PRINT Bodysuit: Digitally printed polyester jersey

Project Manifesto The title, ‘sports-women-ship’, came from my dissertation on how women are represented in sports advertising. I translated this into my major project by showing how sports aesthetics can also be feminine. Using a mix of strong graphic shapes with floaty, mesh like fabrics; I wanted to portray the different traits of female athletes. Some can be used as sportswear, but I wanted to create something more diverse than just participating in sports but retaining a sporty feel whilst looking feminine.

Contact: eilish.design@gmail.com

Project Manifesto

Protection: inspired by tent structures, refuge wear and outdoor clothing, I investigated how materials are integral to performance.

Protecting the body against weather, heat, cold and force, whilst still being wearable. Using knit as my focus I wanted material characteristics that demonstrated weight change, transparency, quilted, graphic, sport, and movement . Often being used in combination with yarn selection for a defined and detailed result thus creating a strong, minimalist collection.

Contact: katherinelambert97@gmail.com

KATHERINE LAMBERT.KNIT

Top: Felted wool knit Skirt: Cotton with bonded mesh and elastic knit detail

EXTRACT: Isobel Upjohn “Does Modern Consumer Culture Allow for Garment Rental as a Sustainable Fashion Future? ”.

“By 2030 it is predicted that we will be using two Earths worth of resources and the demand for clothing is expected to have risen by sixty-three percent” (Arnold, 2017) With the global fashion industry worth over 2.4-trillion dollars (Schwartz, 2018), it is safe to assume that fashion consumption is a prominent part of modern culture. Yet there are claims that it is in the top five most-polluting industries in the world (Sanghani, 2018).

Therefore, it is vital that the fashion industry moves towards a sustainable future.

In recent years, rental fashion has come to the forefront as a feasible alternative to the fast fashion industry. Yet are the qualities of a rental economy compatible with the way individuals consume fashion? And does it have the potential to become a viable option for future fashion generations, particularly when alternatives such as the vintage and resale markets are considered?

In order to answer this, it must be established why society consumes fashion the way it does. This essay shall look at the aesthetic and aspirational appeal of garments, analysing affect theory, and whether or not the urge to purchase is in the conscious control of the consumer. Similarly, the culture of consumer fetishization of possession, and how this could inhibit the success of the garment rental industry, will also be addressed.

In analysing the options for a much-required sustainable future, the effect of consumer choice on the environment, rather than an in-depth analysis on the sustainability of different materials for fashion, is to be the focus.

Fashion Consumption in Modern Society To understand modern consumer culture, aesthetics should not be seen as a luxury, but as a means of communication. Posca explains that it “shows rather than tells, delights rather than instructs. The effects are immediate, perceptual, and emotional” (2004, p. 6). This means of communication does not require conscious cognition; it taps directly into our instincts. Fashion consumerism currently relies on the ease communication, through a simple glance at the aesthetics of a garment, to generate the purchases that drive the economic growth of said industry (Lash & Lury, 2007).

With the rapid rise in lifestyle-sharing based websites and apps such as Instagram, the modern consumer is exposed to a heavily curated reality. Thrift, in ‘Understanding the Material Practices of Glamour’, labels this as an “experience that is fabricated to imitate or replace unobtainable realities which, in the process, becomes a reality itself” (2010, p. 294). The consumer becomes drawn into a cycle of constant exposure and comparison, and the idea of glamour is accepted due to envy, anxiety, and competitiveness (Ngai, 2005). An increasing amount of money is being injected into the aesthetic economy in an attempt to gain satisfaction from this ‘object world’. Perhaps that dress could make the consumer happier, this new blouse will exude

professionalism, thus success.

Two groups appear particularly susceptible to this pressure - young professional women and millennials. Businessmen on a budget need only invest in a couple good quality suits, but women face the seemingly constant necessity for their wardrobe to stay on top of trend (Schwartz, 2018). Writing for The New York Times, Marikar interviews a woman working in the finance industry that states “with the emphasis on your personal brand... there’s more weight on appearance than there ever has been” (2018). Aesthetics are similarly regarded among millennials; fashion analyst Nivindya Sharma (cited in Green, 2016) claims that millennials don’t want to be seen at more than one event in the same clothes. The Independent states that they are “highly fashion-conscious” (Green, 2016), perhaps due to spending more time online than any other generation, and therefore being frequently present in the aforementioned world of aesthetic comparison.

The trouble both parties face in fulfilling their desire to frequently change clothing is their lack of large disposable income. The most obvious solution to this is a reliance on fastfashion consumption. Indeed, one business woman tells Marikar (2018) that she would spend “untold hours rifling through fast fashion stores like H&M and Zara, searching for a trendy blazer or statement necklace to liven up her work wardrobe”.

Garment Rental as a Sustainable Rebellion Against Fast Fashion Yet, a conscious customer effort for a change in consumption of fashion has recently arisen, perhaps due the increased availability and sharing of information available to the modern individual. Through extensive recent coverage in the media, and with the release of documentaries such as Stacey Dooley Investigates: Fashion’s Dirty Secrets (Sanghani, 2018), an increasing number of consumers are now aware of the detrimental effects of fast fashion on the environment. An attempt to move away from this industry has been recorded, Thrift noting that “many consumers do make attempts to link their consumption to ethical imperatives... certainly showing more than a slavish devotion to consuming for its own sake.”

(2010, p. 307).

Thus, the production of garments using materials from renewable/ recyclable sources, is currently being preached by high-street brands as the solution to sustainable fashion future, with 25 brands signing up to British Retail Consortium’s Better Retail Better World initiative (Langton, 2018). But according to Arnold, founder of UK fashion rental company HIGHER, the feasibility of this type of sustainability goal is downplayed.

She criticises that the companies aren’t acknowledging the ‘systematic overhaul’ that is required; with the danger of moving at a self-elected pace becoming “a method of [a] guiltfree acceleration of consumerism” (2017).

Moreover, the destructive cycle of fast fashion continues past construction, something that is not as frequently considered when searching for sustainable solutions. Writing for The New Yorker, Schwartz (2018) points out that eighty percent of clothing that the average American purchases per year is ‘seldom worn’ - Marikar going as far as referring to closets as ‘archives’ (2018).

When this accumulation reaches breaking-point, consumers can be prone to mass clear-outs; Sainsbury’s found that 75% of UK consumers discarded their clothes for landfill, despite 95% of said items being recyclable (Arnold, 2017). Rental fashion hopes to offer consumers an alternative means of frequently refreshing their wardrobe without the need for fast fashion.

Rent the Runway (hereafter RTR) are successfully pioneering this. For $159 a month, members can borrow up to 4 luxury branded garments at a time, with unlimited rotation (Rent The Runway, 2019). When a garment falls out of the wearer’s favour, it is returned to RTR who clean, sanitise, and send it on to the next customer. Not only does this show rental fashion as logistically viable, but that there is demand for it. With RTR’s subscription business up 150 percent year over year, NPD analyst Marshal Cohen calls the company a ‘disrupter’ and considers their impact fashion consumption significant. (Marikar, 2018).

Schwartz suggests that the success of rental is due to the “speed, variety, and that dopamine hit that comes from buying something new, plus the seductive tingle of leaving the house in something expensive” (2018). The success of RTR lies in their ability to offer a sustainable future for fashion that still taps into the same appeal that fast fashion does, allowing access to a broad range of expensive fashion at relatively low cost. Indeed, Westfield found that over half of 25-34 year olds surveyed in London would be interested in clothing rental (cited in: Green, 2016). With streaming services such as Spotify and Netflix growing ever popular amongst this group, it seems that millennials are less bothered about materialism and owning the product, and more focused on the experience (Arnold, 2017).

But could this system realistically be upscaled? Thrift (2010) comments on the plethora of styles in society, stating referring to the acceptance of so many different subcultures as an ‘aesthetic pluralism’. In order to appeal to the vastness of society, RTR could need “a virtually infinite wardrobe, much like Spotify lets subscribers listen to almost any song in the world” (Sherman, 2018). In the hope of expanding their range, RTR Platform has been released – a scheme where brands can get a cut of the revenue for each rental, offering more economic incentive for brands to participate. Unfortunately, unlike Spotify, RTR deals in tactile goods – which come with logistical difficulties: shipment, returns, cleaning. With RTR now running the biggest dry-cleaning operation in the US (Sherman, 2018), how much larger can they grow?

Is the Urge to Purchase Fashion Within Consumer Control?

Although fictitious, Palahniuk (1997) (chapter 4) summarises how individuals have become ‘slaves of our nesting instinct’ through his narrator in Fight Club. He reflects that “the people I know who used to sit in the bathroom with pornography, now they sit in the bathroom with their IKEA furniture catalogue”; a humorous, but perhaps uncomfortably accurate, comment on society’s fetishization of ownership. To fetishize, as defined

by Oxford English Dictionary, is to “have an excessive and irrational commitment to (something)”, and there is certainly an irrationality in the accumulation of material we do not necessarily need. When considering the possibility of rental, it must be asked as to why society is so committed to possession.

Harari raises an interesting theory in Sapiens, citing the rapidity of human evolution as the root of ecological catastrophe: “... humankind ascended to the top [of the food chain] so quickly that the ecosystem was not given time to adjust. Moreover, humans themselves failed to adjust. Most top predators of the planet are majestic creatures. Millions of years of dominion have filled them with self-confidence. Sapiens by contrast is more like a bananarepublic dictator. Having so recently been one of the underdogs of

the savannah, we are full of fears and anxieties over our position, which makes us doubly cruel and dangerous.”(2014, pp. 12-13) If Harari’s thinking is applied to consumption, we are dangerous in our urge to obtain, continuing despite its depletion of the ecological resources we rely on. In fact, a recordable thrill (the human mind and body responding unconsciously) is observed when gaining something new (Abnett, 2015). There is a tendency for consumers to grab what they can, to rifle through bargain racks and try on as much as they can carry; irrationally obsessed with the idea of new possessions, despite full-well knowing they don’t need or truly desire them. It can be seen how human instinct is still in the hunter-gatherer mind-set, as evident in Abnett’s narration of sale shopping: “The thrill of the chase; arduous hunting through stores and websites; the rush when you finally find what you’re looking for. Your heart races. Your skin tingles. You’re elated — for a few seconds, euphoric” (2015).

High-street brands capitalise on this instinct, structuring their businesses to exploit the ‘get it while you can’ mentality. The quick stock-rotation in fast-fashion, coupled with a price tag that forgives the consumer for not second-guessing their instincts, creates a marketing strategy that perfectly evades rational thought process. Shopping has become a series of “aesthetically charged moments that can be used for profit” (Thrift, 2010, p.

296). Has it not yet settled into the human psyche that we have more than enough ‘provisions’ to survive? It is no longer necessary to possess as much as possible.

List of References ABNETT, K. (2015) Can Neuroscience Unlock the Luxury Mind?.

Business of Fashion, 22nd Apr. Available from: https://www. businessoffashion.com [Accessed 20/12/18].

ARNOLD, S. (2017) Op-Ed - An Alternative To Consumerism Does Exist: The Performance Economy. Business of Fashion, 17th Aug. Available from: https://www.businessoffashion.com [Accessed 15/12/18].

GREEN, C. (2016) Clothing rental: New subscription service allows customers to rent clothes from high street shop. The Independent, 9th Feb. Available from: https://www.independent. co.uk/ [Accessed 15/12/18].

HARARI, Y. N. (2014) Sapiens: A Brief History of Humankind. First ed. London: Harvill Secker.

LANGTON, K. (2018) Retailers rally behind sustainable industry targets. Drapers, 9th Apr. Available from: https://www. drapersonline.com [Accessed 28/12/18].

LASH, S. & LURY, C. (2007) Global Cultural Industry: The Mediation of Things. Cambridge: Polity Press.

MARIKAR, S. (2018) The Transformational Bliss of Borrowing Your Office Clothes. New York Times, 12th Oct. Available from: https://www.nytimes.com/ [Accessed 11/12/2018].

NGAI, S. (2005) Ugly Feelings. Cambridge, Massachusetts: Harvard University Press.

PALAHNIUK, C. (1997) Fight Club. New Ed (30 Nov. 2011) London: Vintage Digital.

RENT THE RUNWAY (2019) Plans. [Online] Available at: https:// www.renttherunway.com/plans [Accessed 2nd January 2019].

SANGHANI, R (2018) Stacey Dooley Investigates: Are your clothes wrecking the planet?. BBC, 8th Oct. Available from: https://www. bbc.co.uk [Accessed 02/01/19].

SCHWARTZ, A. (2018) Rent The Runway Wants to Lend You Your Look. The New Yorker, 22nd Oct. Available from: https://www. newyorker.com/ [Accessed 19/11/18].

SHERMAN, L. (2018a) The End of Ownership. Business of Fashion, 23rd Jul. Available from: https://www.businessoffashion.com [Accessed 12/12/18].

SHERMAN, L. (2018b) Fashion Can’t Ignore Rent the Runway.

Business of Fashion, 15th Nov. Available from: https://www. businessoffashion.com [Accessed 20/12/18].

THRIFT, N. (2010) Understanding the Material Practices of Glamour. In: M. Gregg & G. J. Seigworth, eds. The Affect Theory Reader. Durham & London: Duke University Press, pp. 289-308.

Project Manifesto A F*CKING DISASTER My work has always been driven by narrative and sustainability, so it felt right for my final project to be a culmination of my passion for clothing / costume and my drive to live an ethical life. This collection imagines a post-crisis future where resources are limited and workwear is a necessity, but youth culture is still rife with creativity and rebellion. The graphic novel Watchmen greatly influenced my theme and colour-scheme. After my research revealed that the most sustainable form of fabric manufacture is none at all, I decided to show this juxtaposition between creativity and oppression by setting myself a ban on purchasing new fabrics. Everything used in this project is made from found / waste objects or donated materials. Many of my design decisions were based on the properties of fabrics I was working with, as opposed to designing artwork and picking a material to place it on.

Contact: isobel.v.upjohn@gmail.com

ISOBEL UPJOHN.MIXED DISCPLINE

Emmie - Jacket: Recyled and reworked utility trouser with embroidered detail Skirt: Printed recycled polyester sacking Oge - T shirt: Printed on remnant polyester Trouser: Printed and embroidered slogan trouser from remnant polyester Winner of a Sydney Marcus Roadley Award for Innovation in Sustainable design

RIANNA IRVINE.KNIT Dress: End of line Nylon and elastane Second Place- Clothworkers’ Company Prize- Bradford Textiles Society Design Competiton

Project Manifesto This collection is inspired by the way fabrics perform under tension, drawing inspiration from both architecture and the female form. As a designer, I continually strive to create innovative, contemporary and exciting knitted designs with a sophisticated sporty aesthetic. I am driven by colour and texture and this project takes colour influence from primary imagery captured in Bangalore, India.

The collection explores super fine, stretch fabrics, inspired by hosiery and swimwear and contrasts them with denser, heavyweight knitted structures with a conscious and responsible approach, using end of line sports industry yarns.

Contact: riannairvine@gmail.com

Project Manifesto Using the concept of sensations as my starting point, I aimed to explore physical effect and distortions. Manipulating fabrics using image, bonding, cut through and layering techniques. Pattern and image become increasingly abstracted and physically altered as I further explored stiffness, drape and opacity through a series of experiments within the studio and print room environment.

Contact: hettieatkinson@gmail.com

HETTIE ATKINSON.PRINT

Shirt: Bonded cotton with vinyl and cut through detailing

PRIYAL MISTRY.KNIT Emmie - Dress: Cotton with knotted back detail and perspex fixture Oge- Dress: Cotton with perpsex toggle detail

Project Manifesto Crazy About Tennis is a spring/summer womenswear knit collection inspired by the materials surrounding tennis. Incorporating nets, felt and plastic elements along with garment inspiration from existing tennis wear. Bold line, quality and shape create movement and embrace the tactile nature of tennis materials. Aiming to bring together the shape of contemporary sportswear and everyday knitwear creating an almost Avant Garde collection which is transformed by drawstrings and knots. Creating an exciting and sculptural collection for the everyday sportswear addict.

Contact: priyalmistry@outlook.com

ELEANOR LOUCH.KNIT Emmie - Top: Knitted cotton and elastane window pane check with tie detail Trouser: White cotton Oge - Top and Skirt: White cotton distorted rib T shirt: White Nylon Mesh Bustier: White leather with straps

Project Manifesto The Principles of Architecture; primarily experimenting with reworked textures and layering using architectural construction as initial inspiration for shape and colour. Confident shape structures and silhouettes have been the main focus of the collection with inspiration coming from 3D model making and garment formations to influence shape and proportion. Drawing through collage has influenced continuity, symmetry and illusion based aspects of constructing textures and pattern within the knitted structures and the design proportion.

Contact: ellielouch8@gmail.com

Project Manifesto My collection is inspired by the colouration of tropical birds. I created a variety of knit colour schemes, by examining different types of birds and their colouring and construction of their plummage. The techniques used within my knitwear aimed to cpature the complexity of the layering of colour within the feathers and fibres. Varying yarn use and structural development from thin to thick and soft to firm. Collaging colour throughout my project was a way of developing colour combinations in my knitwear. Creating subtle variation and dviversity within each structure.

Contact: charlie.brookes@ntlworld.com

CHARLOTTE BROOKES.KNIT

Dress: Needle transfered polypropylene

2010

2011

Katie Wakefield

Charlotte Shields

2012

2013

Rachel Davies

Kate Turton

2014

2015

Louise Nutt

Kimberley Walker

Ellie Bridges

2017

Amy Jones

FASHION/TEXTILE.ACCESSORIES

2016

2018

2010-2019

Sian McGahey

ARIANA BRADBERRY.KNIT Dress: Cotton and polypropylene with wool e-wrap detailing

Project Manifesto My project is called “The Poisonous and Parasitic�, this is because of the nature of the images that I will be looking at. I will be focusing my project on lichen and mushrooms, lichen is an organism which grows in areas of excess C02 in the air. The lichen flourishes in these C02 rich areas and in return for the C02 it gives off oxygen. I will be looking at mushrooms and other fungi because I find it interesting how these organisms can grow in any terrain and thrive.

Contact:arianna.bradberry@hotmail.com

EXTRACT: Victoria Kusimo

“The Race against Stigma”.

An essay on racial representation and diversity in contemporary Western fashion.

Introduction This study aims to critically explore how racial representation and diversity is portrayed in contemporary fashion, by addressing relevant examples in visual culture and media in the UK and US. These two areas interested my investigation, as the UK has familiar ties to the US. On the other hand, both have different cultures and perspectives on the matter. This essay aims to open up a dialogue for a better understanding of racial diversity, in reference to visual culture and fashion. This study also aims to vocalise present examples that are often ignored, whilst suggesting forms of improvement on the issues.

We live in a world where lifestyle, culture and race are becoming more intertwined, through greater interracial relations and interactions overall in modern day society.

In response to my study, the Somnyama Ngonyama: Hail the Dark Lioness Exhibition at Rivington Place was visited in August 2017. It raised awareness on topics such as race, colourism, beauty standards and the misleading ideals the industry subtly impose on people. The world has evolved greatly from certain racial barriers, but there may presently be underlying racial tensions that are still apparent. Freeman (2007) points out that catwalks are becoming more dominant with “Caucasian faces”, with fewer opportunities for ethnic minorities to be represented on runways. This issue is important, as it would support the pursuit of a career in the fashion industry. In addition, it would provide the researcher with greater insight on societal accountability, and how this could represent beauty internationally. As a woman of colour, subjects such as this are very significant. Fashion often reflects societal norms. If you usually don’t see yourself in that reflection, this could imply that you are otherwise invisible. These discussions hold great importance to contemporary fashion and accessories relevance; as designers often have the influence to magnify issues on the global platform that is fashion. [...]

The politics of skin The exhibition curator at Autograph ABP, Bareman (2017) cited Hall (1990) from the essay Auto portraits- Black Narcissus.

“The mode of self-portraiture most in evidence here is not so much representation as inscription. The body/self is not photographed, but is positioned it is worked on. It becomes a place of inscription; literally something to be written upon, and to be read; an autograph.” Hall’s viewpoint on autographs highlights the notion that we have the ability to alter how people perceive us through self- fashioning. The way we dress ourselves often expresses our inner dialogue of how we see ourselves, and supports the narrative on how we would like to be portrayed. [...]

amongst black people. Context plays a large role in the presentation of this campaign. Figure 3 (image witheld) highlights the piece in both contexts. To the naked eye, the graphics could be seen as playful, because the interests expressed across the clothing could be associated with the nature of a young child.

However when modelled on someone who many may look to for familiarity, the slogan could be misinterpreted as an insult.

Models have the obligation of capturing the essence of a brand, adopt the brands core values and attract sales. However many consumers wanted no association with the provocative piece, which eventually had to be removed from the online store. The nature of a marketer is to intentionally push sales. H&M have such a large international audience, so some would ask how could this happen? Many grey areas have been exposed, and have been called out as inappropriate. Modern day society has proven to be sensitive to triggering attitudes and behaviour, which were previously accepted as normal. Too often companies have come into the practice of ignorantly offending people of colour, and later issuing a written press apology to keep up appearances.

This behaviour is likely to enable further disrespect, as a scripted excuse cannot undo nor erase the past. The advert highlighted, that racial insensitivity is possibly still a prominent issue within society. Many expressed their disgust towards the incident, and probably feel as though the hidden agenda of brands such as H&M are for the main objective of generating more revenue, and attracting new customers. Presently, the state of our current society suggests that we live in a hyper -sensitive era; where anyone may cause offence, yet still be offended. The child’s mother favoured a different view. Rose (2018) implied that the public should “get over it”. Although she is of this opinion, the majority of wider society presently disapproves it. The trend of companies profiting off of the demise of others, suggests that brands sometimes play into the cycle of repeated offence. The aim of marketing is to be tactical, so for something like this to arise with little caution is upsetting.

Figure 4 (image witheld) displays the monkey like figurines which caused uproar to a passer by Chinyere Ezie, as she was passing by the store in Soho, New York. Not long after the image surfaced online, and raised attention to the absence of cultural awareness in these establishments. Additionally it raises the assumption, that there is possibly a lack of diversity in senior positions. This is likely when there is a significant difference in the ethnic minorities influence in the workplace. The figurines share similarities to racist black face caricatures. Nittle (2018) referenced the origins of black face, dating back to the 1830s.

She mentions it as “the practice of white minstrel show performers putting on dark makeup to mock and stereotype African Americans.” Although they apologised via social media, The fashion retailer H&M, faced criticism in January 2018 it poses the concern for the direction of fashion industry, and following the publication of a ‘racist’ hoodie. The retailer was how it can improve hereafter. called out as the slogan could be interpreted as discriminatory,

Issues harboured within the Fashion Industry The present age of society suggests there is a bias shown towards different groups of people. Looks oftentimes are approved as acceptable on one person, but absurd on another. This attitude seems to have given people the opinion, as to what could be defined as appropriate and inappropriate.

The models heads were adorned with colourful dreadlocks.

However bystanders frowned upon the lack of diversity in Jacobs show. Many felt that it could have been a great chance to use his platform to showcase models that have dreadlocks naturally, rather than appropriating it on their white counter parts. Long before they were considered to be ‘trendy’, they were culturally associated with the lifestyles and customs from the people who came way before them. Within the black community dreadlocks bare origin from Religious practices such as the Rastafarian religion. BBC (2014). Jacobs argued within an article

by Oppenheim (2016) that “All who cry ‘cultural appropriation’ or whatever nonsense about any race or skin colour wearing their hair in any particular style or manner - funny how you don’t criticize women of colour for straightening their hair.” To which he added “I respect and am inspired by people and how they look. I don’t see colour or race - I see people,” Although Marc Jacobs is entitled to his opinion, it is unfair for him to speak from a place he hasn’t personally experienced. For women of color, their hair carries great esteem in their self-acceptance and is a source of pride. When non -black groups appropriate these hair styles, it is unlikely that they may face the same prejudice as their black counter parts do. Hooks (1992, p.2) suggests that there is a common tie “between the maintenance of white supremacist patriarchy in this society and the institutionalization via mass media of specific images, representations of race, of blackness that support and maintain the oppression, exploitations and overall domination of all black people.” In summary, when people are used to their privilege equality may seem like oppression to the oppressor.

The double standard reigns not only within the realms of fashion, but within the media and visual culture sector as well. Figure 6 shows the controversial article by Cosmopolitan Magazine.

They faced scrutiny over the contents of their article, in which ethnic models were pinned next to their white counter parts.

Fanon (1967, p.183) suggests that placing two extremes such as “Good – Evil, Beauty - Ugliness, White - Black: such are the characteristic pairings of the phenomenon”. It leaves space for comparison and regards one far greater than another; causing divisional tension between races.

The notion of the ‘token black girl’ Black model Chanel Iman, told The Times in 2016 that designers had rejected her from shows as they had already cast one black model, and therefore didn’t need another. Such incidents could imply that racism continues to be a main concern in the fashion industry. A continuous issue ethnic minorities’ face could be the clear under representation in their preferred areas of employment. Figure 7 (image witheld) reiterates the attitude many fashion houses have towards ethnic models.

Fashion should serve more purpose, than to just fill in an expected ‘quota’. It should be an environment that centres on individuality, which also stimulates acceptance. Our attention is regularly drawn into the algorithm of online platforms of images and visual ideals that we may or may not adhere to. We have access to these ideals, typically found in magazines, adverts and social media, which we may feel pressurised to embody for the sake of acceptance. There is an unhealthy complex of ethnic minorities, longing for the approval of their European counter parts. The desire to feel ‘chosen’ should never come from a place of insecurity, endearment or flattery, but fairly due to having the right characteristics for the opportunity. Read (1996, p.15) implied that “They want to take our place”. This could hint that many European communities share a ‘survival of the fittest’ complex; perceiving non- whites as a threat. Consequently they start to display territorial characteristics. It is not right to

deem one type of woman as the epitome of what is accepted as ‘beautiful’. As many may fall short of this standard, and may begin to foster a mentality of feeling inadequate. Fanon (1967, p.109) regards people of colour as “an object in the midst of other objects.” This point of view highlights our equality to one another. [...]

List of References: Bareman, K. (2017). Interview with Victoria Kusimo. 27 October.

London. BBC (2014) Worship and customs [Online] Available from: http://www.bbc.co.uk/religion/religions/rastafari/customs/ customs_1.shtml [Accessed on 12/11/17] Fanon, F. (2008) The fact of blackness. In: Black skins, white masks. London: Pluto. pp. 109-146.

Freeman, H. (2007). Why are all the models white? The Guardian.

5th October. Available from: https://www.theguardian.com/ lifeandstyle/2007/oct/05/fashion.hadleyfreeman [Accessed on 13/11/17] Hall, S. (1990) Autograph: The Newsletter of the ABP Newspaper.

Number 10, February/ March 1990 Hooks, B. (1992) Black looks: race and representation. Boston, MA: South End Press. pp.1-115 Nittle, N. (2018) Prada pulled a collection of figurines that drew comparisons to anti- black caricatures. Vox, 14th Dec. Available from: https://www.vox.com/the- goods/2018/12/14/18141320/ prada-racist-blackface-imagery-sambo-figurines-charms [Accessed on 06/01/18] Oppenheim, M. (2016) Marc Jacobs triggers more criticism after defending dreadlocks at New York fashion show. Independent, 18th Sep. Available from: http://www.independent.co.uk/news/ people/marc-jacobs-triggers-more-criticism-after-defendingdreadlocks-at-new-york-fashion-show-a7314731.html [Accessed on 17/12/2017] Rose, E (2018) H&M ‘monkey’ hoodie row: Mother of boy says she was racially abused herself, [Online] https://www.standard. co.uk/news/world/i-was-racially-abused-reveals-mother-of-boyinvolved-in-hm-hoody-row-a3738636.html [Accessed on 13/12/17]

Project Manifesto My project The Laundry Room series follows the narrative of how black beauty ideals are unappreciated from their place of origin, almost white washed. My final collection is inspired by diversity, following the narrative of my dissertation research on skin and stigma. The title is a play on words. It’s synonymous with life cycles, cleansing and division. We naturally separate our white clothing items from our dark clothing similarly likened to an ‘apartheid’. I started off my research with an exhibition I visited in London by Phoebe Boswell, called ‘The Space between Things’.

The art display explored trauma, healing, and the poetics of endurance. Visually, I wanted my collection to illustrate an array of different skin textures and skin tones, whilst highlighting self-preservation, and renewal in reference to being more cautious of how we handle our beings as we do our laundry.

Contact: v.kusimo@live.co.uk

VICTORIA KUSIMO.ACCESSORIES

Bag: Laser cut leather with hand dyed/resist colouration Ring and bracelet: Laser cut perforated leather

ELLIOTT HUNTER BLAIN.PRINT Dress: Hand macrame polyurethane fishing net cording

Project Manifesto Investigating the Salem Witch trials, I was interested in how women on the edge or outside of society, where misrepresented and mistreated.

Living in a time where persecution was rife and often based on rumour, falsehoods and grievance. Not fitting in, could ultimately lead to societal pressure to conform or an untimely death.

I wanted to create a collection that explored materials both constructed and printed. Evoking a dark mood, with beauty in the details and a strong sense of femininity.

Contact: elliottblain@hotmail.com

Project Manifesto My project is based on the danger in nature things that you know you shouldn’t be touching but are still somehow tempted. Such as flowers that might look pretty on the outside but could potentially be very harmful. From carnivorous blooms to poisonous posies, not all flowers are as sweet and innocent as they appear. We sniff and touch without thinking of the after effects whether it’s poisonous or has toxic fibres; it just goes to show you that while beauty is inviting, it doesn’t mean it’s good for you. In this project I’m focusing on colours that are intense and developing abstraction from flowers, plants and poisonous frogs that have different colours and have various remarkable shapes on their skin. My collection consists different print techniques such flock, digital print, devore and many more.

Contact: mufaropoli@gmail.com

MUFARO POLI.PRINT

Cami Dress: Bonded digitally printed satin Cape: Bonded digitally printed satin

RAYEANNE BLACKWOOD.PRINT Jacket: Bonded digitally printed polyester jersey/nylon mesh/cotton jersey Dress: Bonded digitally printed polyester jersey Leggings: Bonded digitally printed polyester jersey

Project Manifesto Programmed: Game over is a concept based around retro video game display; citing the Tron films and the narrative of being the user.

Developing visuals from arcades, electronics, coding, text and pixelisation, I hoped to create a visually vibrant collection with innovative material development. Mixing digital print, traditional screen technqiues, layering, bonding and manipulation; allowed a diverse and experimental collection to be created, with a strong contemporary edge.

Contact: rayeanne@btinternet.com

JOUHENA CHOWDHURY.KNIT Dress: Black cotton and copper lurex

Winner of a Sydney Marcus Roadley Award for Innovation in Sustainable design

Project Manifesto My concept for final major focuses on the distinguished layers within rock strata which work to create definitive characteristics in the physical appearance of each rock. These characteristics are determined by tone, texture, colour and weight transition. My aim was to create a collection which focused on these four keys elements and used knit construction and yarn qualities to display a varied result of final outcomes. Using black as my main colour, allowed me to not only create a contemporary collection, but allowed me to source my yarns responsibly. My use of yarns varied; from donated, second hand, carefully sourced to minimise wastage; whilst also considering the use of natural fibres teamed with synthetic. My aim was to create a luxe collection which represented my taste and aesthetic.

Contact: jouhena.khanum@gmail.com

Project Manifesto Three concepts were my points of inspiration for my final major project; my recent trip to New York, my ongoing interested in geometry/basic shapes and looking at ways to transform and combine them, and the idea of repetition and intricate pattern, particularly those patterns which featured in African textiles. I touched on a couple of these in my pre collection, but wanted to chance to explore some of my initial ideas. I was heavily influenced by the architecture in New York and the unique ways they were structured – with this leading me to play on these shapes and create a constructed textile piece, building an entire garment using individual shapes - but joining them together in an interesting way. The New York street style also played a role in my final major project garment, as I felt that it linked to my pre collection work and the idea of certain looks in black culture being perceived as ‘ghetto until proven fashionable’.

Contact: ambergayle95@gmail.com

AMBER-SIMONE GAYLE.MIXED DISCIPLINE

Bralet: Hand woven silk with nylon strapping Top: Nylon mesh Trouser: Screen printed cotton suiting

JESSICA BAKER-HOLLINWORTH.PRINT Oge - Cami dress: Digitally printed polyester Top:Polyester lace Emmie - Bodice: Digitally printed cotton satin Skirt:Digitally printed polyester Top:Polyester lace

Project Manifesto The Return of Rosetta- This collection is from the prospective of a woman whom resembles a mother nature figure. Angry about the nature she adores being taken away from her. In protest to this, she covers every inch possible in blooming flower and climbing vines. I aimed to emulate this concept into the whole collection by producing fabrics and garments that mostly covered by a floral pattern. Creating print project that incorporated traditional painted flowers with contrasting shapes with the objective to be noticed. Exploring subtle colour pallets with bold accents to draw attention across the collection. The aim for these textiles piece was to make nature be unmissable, before it will be missed for ever.

“When a flower doesn’t bloom, you fix the environment in which it grows, not the flower”- Alexander Den Heijer Contact: jessica.bakerh@gmail.com

Project Manifesto Taking inspiration from the animation Fantastic Planet (1973) I aimed to create a product collection that was conceptually grotesque but visually pretty. The surrealistic nature of the film led me to explore abstract and biomorphic forms, developing a narrative centred on imaginary aliens caring for humans via their objects. Investigating dolls houses, toys and jewelry caskets allowed product concepts to develop with strong colour, mood, complexity and function.

Contact: nanyoungkim.seoul@gmail.com

NAN-YOUNG KIM.ACCESSORIES

Briefcase: Pink and cobalt blue leather with trellis detail

VIJAY PATEL BUILDING

Our Fashion Textiles and Accessories BA(Hons) students are now well-established in the Vijay Patel Building. This award-winning building brings all of our art and design courses together into a stunning architectural space that’s been designed to provide inspiring, flexible spaces, studios and extensive facilities which invite creativity and innovation.

Sitting at the heart of our recently transformed campus, this landmark building defines us as a 21st century university. It shows how serious we are about giving our students the very best experience possible and embodies our ambition to provide them with all of the tools they need to achieve their aspirations.

To take a closer look at our facilitates visit dmu.ac.uk/aad

Thanks: To all the graduates of the Fashion Textiles and Accessories course. You have made the 10 years of this course a wonderfully pleasureable, exciting and creative journey. As we now move into a new phase with the Fashion Textile Design course, please remember: you made FTA what it was and what FTXD is yet to come.

Art Direction and Design: Alan Beattie Photography: Fabrice Lachant Make up: Katie Short Hair: Neil Smith Models: Emmie and Oge @ Boss Model Management Cover Image: Toile Jacket by Leanne Sheasby - Toile Skirt by Isobel UpJohn