FA SH IO N TE XT IL E D ES IG N e di t i o n 1 2020
Fashion Textile Design is a specialist course, providing opportunities for students to develop in-depth textile design expertise for the fashion industry. Providing an opportunity for students to investigate new creative directions for fashion-forward, luxury and innovative design approaches for fashion material culture. Normally this document would be a catalogue of final resolutions, presenting the outcomes from 3 years of study, hard work and creative insight. However, 2020 is a very different year. In March the global pandemic reached our shores, redefining our ability to interact with each other, study, work and travel. What we previously understood as possible, seemed to be now impossible. Like all students, our year group suddenly had restrictions not only of their movement, but their creative practice, their ability to refine their skills and pursue their dreams. Alternatively, from adversity comes a reaction, resilience, resourcefulness and creativity. Restriction brought new opportunities and time to reflect on what is possible, what could be done, rather than what is stopping us. This document is a tribute to our students ability to adjust, to redefine and to focus on the most important part of their creative journey; the process of creating. Outcomes may not be fully resolved, but the creative process is the glue that binds it all together. This catalogue is overview of process; testing, enquiring and challenging expected norms. It is a testament to the talent and ingenuity of our final year students and all the efforts they made in reacting to a global crisis.
Contact us: Programme Leader - Alan Beattie abeattie@dmu.ac.uk www.dmu.ac.uk/fashiontextiledesign De Montfort University, Leicester, The Gateway LE1 9BH
SICHEN CHEN JASMIN COLLINS SHERYL HADGKISS PENNY KIRKHAM AMELIA LEWIS MONIKA NORVILAITE OYINDAMOLA OLANIYI PETA ORME CLAIR PORTER OLIVIA PRESCOTT SUSANNA RIASKIO ZUBEDA SHAKUWE JAYA SHARMA LEANNE SHEASBY CHARLOTTE TURPIN BROWN ELIZABETH WALECKI
Project Manifesto: You’re a Mess: Inspiration comes from shapes and mixed patterns captured through the form of photography. Creating photoshoots incorporating comedic poses and unusual ways of wearing clothing. Juxtaposing this with the random, the misplaced and forgotten objects in our environment. The imagery collected then contributed to a variety of artworks ranging from paintings and drawings, as well as layered collaging. Construction of models built up of reinvented design elements developed a more considered reinterpretation and material manipulation. Creating bold and colourful graphic designs through screen printing, hand cut leather and layered materials. Contact: Email: leannesheasby15@gmail.com Instagram: leannesheasby_fashiontextiles Web: leannesheasby15.wixsite.com/ leannesheasbydesign
Project Manifesto: Inspired by Ray Bradbury’s 1963 dystopian novel Fahrenheit 451, the collection takes from the descriptive passages and sensory expressions of life in the book. Everything from texture to colour and shape is drawn from words such as ‘’ blood ruby, warped, porcelain& re-shapen’’. The focus of the collection is to recreate these concepts and bind them in a visual and textural way. This process began with photography and marking unusual fabric forms on the body. Which in turn, journeyed into recreation through a range of free hand printing techniques, drawing mediums and photoshop to create sinister but futurist screen and digital print designs. Contact: Email: libertystormemail@gmail.com Instagram: Libertystorm_ Linkedin: Libby Prescott Web: libertystorm.co.uk
Project Manifesto: A F***** UP LOVE STORY: Because that’s all it is. All of us, perfectly unbalanced. Somewhere, something or someone has left a great big hole on our fragile beautiful bodies. Leaves us no other option to become slightly ‘crushed’. I will explore the effects of trauma, Psychologically and emotionally. People think, react and respond differently to their own events. I will try to demonstrate particular emotions and senses within my collection. ‘Touch’ being one of the sensory inputs, meaning the texture and feel of the fabrics will guide the body to relax when experiencing feelings of anxiety. This is an insight, take it as your own. What does this ‘Force’ you to perceive? Notice? There’s no right or wrong way, it belongs to you. Contact: Email: Amelia@amelialewistextiles.com Instagram: amelialewis_textiles Web: amelialewistextiles.com
EXTRACT:
Peta Orme
“Greenwashing in the Fashion Industry”.
Consumer awareness of the global environmental crisis is growing. Through this has come a greater understanding that the worldwide fashion industry is a significant contributory factor in this global crisis. The industry is aware that consumers have started making conscious choices with their fashion purchases asking ‘is it green?’ […] As a response to these concerns, the industry has begun to make some genuine improvements to its environmental impact, but it has also been keen to manage its public reputation through claiming greater environmental credentials than can be justified. This over-claiming or over-association with environmental causes is called ‘greenwashing’.
It is extra incentive to buy a product, turning consumption from an act fraught with environmental and ethical risk into a win-win situation. Greenwashing turns buying goods into a feel-good deed. If sustainable production is what is necessary for the planet, why then has greenwashing come about? Jane Hoffman and Michael Hoffman (2009) argue that there is a demand for apparently green products: ‘We don’t have the energy or inclination to investigate whether a product we are buying is actually eco-friendly; we just want the immediate gratification of knowing we are contributing positively to the issue.’ It is not that consumers are willing victims of misrepresentation but that they are not demanding the full truth, possibly because, if The term greenwashing has entered the public discourse, they love the product, and they like the low price, they would usually as an accusation against companies trying to make rather not be troubled by ethical doubts. themselves appear sustainable or environmentally friendly. Simply put, greenwashing is a form of marketing that creates Fashion trend or genuine change? the perception that a company’s products, aims or policies are green. (Maushart and Snaije, 2017). By using greenwashing as a marketing strategy, some parts of the industry are responding to the demand for ‘eco-friendly’ The significant growth in social media increased awareness in the same way it would to a consumer trend. That is, the fast of the impact that over-production and over-consumption fashion industry has taken on ‘Green’ more as an aesthetic, have on the environment. It has also provided the means for than as an approach to production. A good example is ‘call out culture’: the public are now questioning and publicly the number of brands that are producing mass amounts shaming companies for lack of transparency. of avocado patterned pyjamas, the millennial symbol of This essay intends to discuss greenwashing as a marketing veganism. strategy used by the fashion industry and raise the question However, it is possible that the trend is helpful as a driving of whether greenwashing might have a positive side. It will factor for fashion to transition into a greener industry. ‘One start by considering what sustainability means in the fashion cotton mill can use 200 tons of water for every ton of fabric industry. It will then consider eco-anxiety as a new influence during the dying process, which can release up to 72 chemicals in the buying decision. It will also question whether fashion into local water supplies’ (Ehrman, 2018). This information companies can ever be green when the production itself has brought about a change. ‘The growing influence of can be an unnecessary use of resources. The importance of sustainable plant-based dyes – while these dyes might not yet transparency and third-party verification will be examined. be saleable at a mass level, they are helping to shift consumer Finally it will discuss the critical importance of full transparency tastes towards colours and irregular quality’ (WGSN, 2019). in generating permanent change. From this perspective greenwashing is helping sustainable […] methods like natural die to become not just the norm but a feature of design too. In this case, greenwashing is helping to The rise of greenwashing turn consumer tastes aesthetically towards green. The rise of greenwashing is a response by the industry The trend is not just seen in high street fashion, it is on the to the growth of eco-anxiety among consumers whereby catwalk and promoted by celebrities too. For example, environmental purity is a factor that can promote sales and patchworked collections create the impression of using give the brand a competitive edge. As the philosopher Slovaj scraps. In reality, however, whilst aiming to create the popular Zizek (2011) puts it, the public do not want a ‘purely passive green aesthetic, they are brand-new expansive silks, cottons role’, or to be [an] unimportant observer who can only sit back and plastics, dyed and treated with toxic chemicals. […] and watch what his fate will be. To avoid such a situation, we are prone to engage in frantic obsessive activities just to In an article entitled ‘Green is the New Black’, Theresa be sure we are making our contribution, for example, buying M. Winge (2008) discusses ‘eco-fashions’ as trends. She goods because they are marketed as green. … just by buying disputes eco-fashions own sustainability given that previous them we are not just buying and consuming a product. We are environmentally driven trends have been short lived. It seems doing something meaningful. likely that, given the nature of fashion, the aesthetic aspect of eco-fashion could be short lived.
The important question is, will eco-fashion leave a legacy of sustainable practices? Ecological degradation is only becoming more and more of a hot topic because of its growing relevance in day-to-day life for example, the bush fires in Australia taking place in early 2020. For this reason, it is essential that improvements to the environmental impact of the industry are lasting. The aesthetic aspect of the trend could be more temporary. The paradox of sustainable fashion
industry without growth or capital. When ‘green’ is at the forefront of what is popular, ‘Those who’ve shifted to ecofriendly methods will be poised to clobber their less-green competitors when the environmental shit hits the fan’ (Rogers, 2009) […] If the price of a garment was based on production value, ‘Consumers would gravitate toward the least expensive and therefore, least resource-intensive goods’ (Rogers, 2009), thus creating a more ‘eco friendly’ market. This would make a considerable contribution to sustainability but greenwashing will not get us there. […]
All of this presents a baffling paradox because the industry List of References is based on rapid consumption of a relatively durable product. Maushart and Snaije (2017) use smoking advertising B CORPORATION (2019) ‘About B Corps’, Available from: campaigns as a comparable example: https://bcorporation.net/about-b-corps (accessed 3/1/20). BoF (2018) ‘Stella McCartney- charter for climate action’ [online video], The Business of Fashion, Available from: https://www. youtube.com/watch?v=vOKnZfgwJzw (accessed 3/1/20). EHRMAN, E. (2018). Fashioned from nature. Victoria and Albert Museum. HEPBURN, S.J. (2013) ‘In Patagonia (Clothing): A Complicated Greenness’, Fashion Theory, 17: 5, pp. 623-645. HOFFMAN, J. and HOFFMAN, M. (2009) ‘Green: Your Place in the New Energy Revolution’, Scientific American, 1 April, Available from: https://www.scientificamerican.com/article/ greenwashing-green-energy-hoffman/ (accessed 3/1/20). MAUSHART, M. and SNAIJE, M. (2017) ‘Greenwashing: The Good, the Bad, and the Ugly’, International Young Producing mass amounts of ‘sustainable’ clothing can never Naturefriends, 18 Dec, Available from: http://www.iynf. compensate for the fact that the industry is simply producing org/2017/12/greenwashing-good-bad-ugly/. too much clothing. Currently the vast amount of clothing in ONE PERCENT FOR THE PLANET (2019) ‘Business members’, production generates waste. […] Patagonia is a B corporation Available from: https://www.onepercentfortheplanet.org/ which is positive for the cause. However, they still produce business-members (accessed 3/1/20). clothing in a world which already has more clothes than can ROGERS, H. (2009) ‘The greening of capitalism’ International socialist review available from: https://isreview.org/issue/70/ be worn. greening-capitalism (accessed 3/1/20). Even assuming that the company has the best of intentions, WINGE, T.M. (2008) ‘Green is the New Black: Celebrity Chic the fact is that their marketing practices, and the messages and the “Green” Commodity Fetish’, Fashion Theory, 12: 4, they convey—about the integrity of practices and the sublime pp. 511-523. aesthetic that motivates them— increase consumption well https://www.businessoffashion.com [Accessed 20/12/18]. beyond the needs of their ‘core-customer’. (Hepburn, 2013) THRIFT, N. (2010) Understanding the Material Practices of Glamour. In: M. Gregg & G. J. Seigworth, eds. The Affect In 2012 Patagonia posted an advertisement in The New Theory Reader. Durham & London: Duke University Press, pp. York Times on Black Friday, saying ‘Don’t Buy This Jacket’. 289-308.
‘It is just as hard to shop yourself to sustainability as it is to smoke yourself a healthy lung.’
[…] Patagonia’s most famous attempt to raise awareness of over-consumerism led to a rise in sales and inevitably, a rise in consumerism too. ‘While the product is made in an environmentally conscientious way, it is still a product being bought, which had to be made, and it took resources to do so. And we must ask—as Patagonia asks us to—was that purchase necessary?’ (Hepburn, 2013) One cannot escape that it is over-consumption. This problem is not unique to the fashion industry because capitalist economics is fundamentally based on perpetual growth which promotes ever increasing consumption. It is important to remember, however, that successful trading helps lift people out of poverty through the generation of jobs and enable fundamental human rights like enough to eat and access to education. This conundrum is inescapable but the influence could still be positive. […] One percent of all Patagonia sales, or profits go to environmental projects. (Hepburn, 2013) As a member of ‘One percent for the planet’ (2019), the more Patagonia profits, the more funding environmental nonprofit organizations receive. Is this green capitalism? ‘Green capitalism is an approach that says we can use the levers of the market to fix the broken environment …” (Rogers, 2009) Surely this cannot be a purely negative innovation. Companies cannot exist without sales. Like Patagonia, they also cannot bring positive change to the
Project Manifesto: ‘Her bones are coral made’ My graduate collection is derived from a narrative that explores desire; desire to become a part of the unexplored realms of the deep ocean. I realise my values of slow fashion and craftsmanship through the individuality and explorative nature of the forms and techniques. With metamorphosis as a stimulus, I set out to depict how the sea could disfigure the human silhouette permanently. Solidity and permanence became a central aspect of the collection. I generated digital prints to be manipulated by heat, bonding, resin and vacuum forming, using photography that explored “What would you see if you were snared in the depths?” Directed by my research I chose neoprene, jersey, foam and other discarded fabrics that pay homage to the theme. The collection invites the wearer to escape to an unworldly, alien environment where the wearer is no more than a being of nature. Contact: Email: peta@petaorme.com Instagram: petaorme Web: petaorme.com
Project Manifesto: Ambiguous, my project is based on what meets the eye. Taking inspiration from surface textures to create strong artworks that can be translated interesting shapes and silhouettes. The contrast between textures and colours has been my main focus of the collection, being able to mix hard texture with soft texture to help me generate ideas for knit and a garment outcome. Contact: Email: oolaniyi@hotmail.com Instagram: Oyindamola_textiles Linkedin: Oyindamola Olaniyi Web: oyindamola.co.uk
Project Manifesto: Initially inspired by the French painter Claude Monet and his invention of “soft� garden paintings in the 19th century and his use of soft colours and French expressionism. Focusing particularly on gardens developing Monet’s artistic style whilst capturing the beauty behind contemporary floral prints. Mixing soft colours against clashing colours, prints, layers and techniques in order to achieve an innovative approach towards my prints. Featuring fabrics with different weights which can perform differently both in digital and screen printing. Making the floral print to influence scale and proportion when constructing the print on the body as a garment. Placing together and clashing, prints, patterns, colours and fabrics for new trendy printed garments. Contact: Email: zubeida.shakuwe@hotmail.com Instagram: imara_wwear Web: imarawwear.wordpress.com
Project Manifesto: Monika Norvilaitė’s unisex collection TRIANGULATION; the use of different methods to produce an outcome. This was completed through the exploration of basic geometry shapes, primarily triangles. The original inspiration for her final collection came from European folk dress, observing the intricate patterns and extracting rudimentary shapes for a contemporary appearance. Bold, clashing colour connotes Monika Norvilaitė’s playful personality and attentiveness to examine intriguing patterns in her knitwear. “I wanted to show that knitwear does not predominantly have to be stripes, I am constantly looking for interesting ways to play around with patterns and display them in my digital knits”. Contact: Email: mnorvilaite@yahoo.com Instagram: monikanorvil_ Web: monikanorvilaite.com
http://monikanorvilaite.com
EXTRACT:
Elizabeth Walecki
“Dyslexia and Artistic Creativity: Making a Case for Non-Linguistic Knowledge”. Introduction There is a growing body of literature that recognises the importance of the link between dyslexia and artistic creativity. Studies by Steffert (1999; 2017) and Von Károlyi (2003) have shown that individuals with dyslexia have a different neurological ‘wiring’ which can influence their approach to creative tasks. However, evidence also suggests that environmental factors, such as educational experiences and parental involvement, can contribute to a dyslexic individual’s artistic creativity (Mortimore 2006; 2008). This essay aims to explore the relationship between dyslexia and artistic creativity, with a focus on visual-spatial ability, which is the ability to “mentally visualise, manipulate and create in 3-D dimension” (Steffert, 2016, p.11). Chartered Psychologist and Neuropsychologist, Dr Beverley Steffert, is a poignant researcher establishing the link between dyslexia and visualspatial awareness, with notable papers such as Visual-Spatial Ability and Dyslexia (1999) and more recently Preliminary Evidence for the Better Visual Spatial Ability of Dyslexics (2017). Steffert’s work will be explored, as well as significant scientific studies of visual-spatial ability and personal experiences to understand the impact of dyslexia on the creative arts industry. The research will also highlight the positive contributions visual-spatial awareness can have on neuro-diverse workplaces and education environments. Furthermore, this essay aims to showcase and raise awareness of the many benefits and talents associated with the learning differences, rather than dwell on the negative preconceptions of the ‘disability’. It is hoped this essay will contribute to a deeper understanding of the support dyslexics need throughout their progression through education and into the workplace and the positive attributes dyslexics can possess if encouraged. This will enable individuals to reach their full potential, something which personally resonates with my experiences as a creative dyslexic, as too often dyslexics are dismissed as failures as they are not compatible with the present linear school system (Mortimore, 2008, p.84). An Introduction to Dyslexia in Creative Fields
Scientific Findings to Link Dyslexia and Artistic Creativity Dyslexic individuals have a different neurological ‘wiring’ compared to the neurotypical population (the population not affected by dyslexic or other related neurological conditions). Dyslexics can lack efficiency in the left hemisphere of the brain, which focuses on language ability (cited in Lexxic, 2007). The left hemisphere is associated with “thinking in words” and the right hemisphere thinks in “shapes and images” (Steffert, 1997, p.131). Left Hemisphere Responds to verbal instruction
Right Hemisphere Responds to visual, kinesthetics and demonstrative instruction
Depends on words and language for
Depends on images and pictures for
meaning
meaning
Prefers a step-by-step process where
Prefers a wholistic overview so they know
details and facts build one upon the other in
where they are going and then can learn by
a logical order
exploration and discovery
Figure 1 - Table summarising the characteristics associated with each hemisphere of the brain (Mortimore, 2008, p87). Dyslexics tend to be holistic imagers because of the stronger association to the right hemisphere, whereas an analytical verbaliser has a more efficient left hemisphere (figure 1). This justifies why dyslexic’s have “phonological difficulties, which inhibit word recognition” (Steffert, 1997, p.131). It can be argued that artistic creativity is subjective and difficult to define, however in line with Steffert’s (2016) research, to be artistically creative relies on being a “holistic imager (design mind)” rather than an “analytical verbaliser (sign mind)” which is summarised in below. Analytical Verbaliser (sign mind) Attributes:
Holistic Imager (design mind) Attributes:
Detail orientated
Holistic
Sequential
Connects clusters
There is a high percentage of dyslexics at design universities Linear thinking Imagistic thinking compared to the overall population. For example, in 2015, The Royal College of Art revealed that 29 percent of their current Rule Governed Open-ended ideation students were dyslexic, in comparison to 5–10 percent of the Relies of organised, pre-existing Pictures rather than words overall population” (RCA, 2015). This can be supported by the information/ codes findings from Central Saint Martins (cited in Lexxic, 2007), a Remembers complex motor sequences Words evoke images renowned Art and Design institution; it was found in 1996 that that 270 students out of a cohort of 360 foundation students Words are signs Innovator had some form of dyslexia. Therefore, these two world-leading art and design institutes have a higher prevalence of dyslexics than in the overall population. This poses the question, why is there a higher prevalence of dyslexics opting to pursue Figure 2 - table showing the attributes for the two main types creative fields? of minds (Steffert, 2016, p.7).
Dyslexia and its Association with Visual-Spatial Awareness Anecdotal Studies on Visual-spatial Ability and Dyslexia Further evidence for this link between dyslexia and being Dyslexic individuals can possess a higher visual-spatial strong visual thinkers can be shown anecdotally. When Jane awareness and, to use Steffert’s (2016) term, these individuals Graves, a CSM’s specialised dyslexia tutor, asked her 72 would likely be “holistic image makers”. Steffert (cited in students if they saw in three dimensions: Lexxic 2007) credits the higher prevalence of dyslexics in art and design institutions to an increased visual-spatial ability. … only three didn’t understand what I meant. For the others Further commenting, “there seems to be a trade-off between it triggered off a flood of descriptions such as: “From the being able to see the world vividly and three-dimensionally first moment, I see every detail of the final product”; “I don’t and processing written words through reading or writing” see words as ‘words’ but as symbols of what they mean. It (Lexxic 2007). Steffert (2016) understands visual-spatial ability conjures up an image immediately, and that is very distracting when you’re writing.” (Appleyard, 1997). as: This could explain the elevated incidence of professions such as visual artists, architects, and engineers being dyslexic compared to the general population (as cited by Steffert, 2016, p.42). The same concept can be applied to the Fashion Industry. Fundamental principles of creative industries, in particular fashion, involve constructing innovative solutions to problems and creating three-dimensional outcomes, which There have been scientific studies which have shown similar require such strengths dyslexics are consistently associated results to Steffert’s theories. These are in the form of with (Steffert, 2016, p.16). […] experimental research and anecdotal studies. Reference List Experimental Research Studies on Visual-Spatial Ability APPLEYARD, D. (1997). Education: The art of being dyslexic. and Dyslexia The Independent, Available at: https://www.independent. Being highly visual-spatially aware is one of the key co.uk/news/education/education-news/education-the-art-ofcomponents of the “learning characteristics of the ‘Design being-dyslexic-1280776.html [Accessed 30 November 2019]. Mind’” (Steffert, 1999, p.25). Research supports the link LEXXIC (2007) The creative side to being dyslexic: Are people that dyslexic minds have advances in visual-spatial abilities with dyslexia more creative? Medium, Available from: https:// compared to neurotypicals, for example Steffert’s (2017) medium.com/@Lexxic/the-creative-side-to-being-dyslexicstudy demonstrated better visual-spatial abilities compared are-people-with-dyslexia-more-creative-fb4eb880f7fd to neurotypicals. This study involved 298 dyslexic children, [Accessed 11 October 2019]. who were tested using the Wechsler IV intelligence test, MORTIMORE, T. (2006) The Impact of Dyslexia and which requires participants to arrange blocks to create Cognitive Style Upon Male Student’s Performance in Utilising Information. ELSIN Conference, Oslo [conference paper]. desired patterns, as shown below. MORTIMORE, T. (2008) Dyslexia and Learning Styles A Practitioner’s Handbook. Second Edition. Chichester: John Wiley & Sons Ltd. ROYAL COLLEGE OF ART. (2015). Rebalancing Dyslexia and Creativity at the RCA. Royal College of Art. Available at: https://www.rca.ac.uk/news-and-events/news/rebalancingdyslexia-and-creativity-rca/ [Accessed 30 Nov. 2019]. STEFFERT, B. (2016) If you judge a fish on its ability to climb a tree, it will live its whole life believing that it is stupid [PowerPoint file], Learning Recovery. Available at: http:// www.learningrecovery.co.uk/about/#PowerPoints. STEFFERT, B. (2017). Preliminary Evidence for the Better Visuo/Spatial Ability of Dyslexics. MORE? Figure 3 - Showing the Wechsler I.Q test used within Steffert’s STEFFERT, B., editor Padgett, I (1999) Visual Spatial Ability (2017) research paper to test for visual-spatial awareness. and Dyslexia. London: Central Saint Martins College of Art (Image used in Steffert, 2016, p.24). and Design. VON KÁROLYI, C. (2003) Dyslexia linked to talent: Global Due to the proposed notion that dyslexics are better visual visual-spatial ability. Brain and Language, 85: 3, pp. 427-431. thinkers, this skill allowed the dyslexic participants to build clearer pictures in their mind to provide solutions to the puzzle. The graphs below show conclusively that “dyslexic children have a significantly higher Block Design score than norms which is interpreted as better visual-spatial ability” (Steffert, 2017). This “reinforces the long suspected anecdotal claim of the dyslexic’s superior visual-spatial ability” (Steffert, 2017). “The ability to mentally visualise, manipulate and create in 3-D dimension. Mentally rotating a 3-D object – essential to orientation/navigation. It allows one to see things from many different perspectives simultaneously and hold those images in their mind’s eye and imagine how they would work, images alternatives” (p.11).
The findings from the study showed that of the participants, 45% had dyslexia and of the top ten scorers, 70% were dyslexic and 68% of the 25 highest scoring participants were dyslexic. These results suggest that individual’s visual-spatial processing ability was higher in these participants reinforcing the suspected link between this ability and dyslexia (Von Károlyi, 2003).
Project Manifesto: Principles of Science and Dress: Matter, Form and Motion. Placing the body amidst the language of science was the catalyst for the collection. Simplifying the principle states of matter into solid, liquid and gas, determines the structural elements of the knitted outcomes. Similar to the unaware entropic changes within our environment, we too are unmindful of the significance of the relation between our body and fabric, and what form follows because of it. Our relationship with our clothes, once worn, are reshaped through movement, being stretched, washed and worn, never truly returning to its prior state. Like elemental collisions, two elements colliding is unpredictable and never truly repeatable. (99 words)
Contact: Email: elizabethwalecki@gmail.com Instagram: elizabethwalecki Web: elizabethwalecki.com
Project Manifesto: The Beauty in Collision Based on the idea of self destruction, The Beauty of Collision is a concept that takes 70’s disco and early David Bowie music to make a loud and proud palette suitable for Spring/Summer. Using yarn like lurex and cannele, I was able to explore different weight changes and create a more durable mesh for thicker areas. Eyal Gever’s computer simulation sculptures had a profound effect on me due to the expression of collision and impact they portray. Contact: Email: pennykirkham1212@gmail.com Instagram: pennytextiles Web: pennytextiles.com
Project Manifesto: Jasmin Collins’ graduate collection is Inspired by geometric shapes and structures found particularly in architecture. The bold lines and blocks of colour are found in all areas of her work, which showcases a theme of confident shapes. Methods such as CAD, hand stitching, collage and knit techniques are used all throughout the project showcasing a thorough exploration of the theme. She is playful with colour- using subtle changes and tonal shades, as well as bold, highlighted blocks. Through traditional techniques she has created stylish and contemporary artwork and knitwear designs. Contact: Email:J asmincoll27@gmail.com Instagram: jasknitwear Web: Jasknitwear.wordpress.com
SICHEN CHEN
Project Manifesto: The inspiration come from homeless people and city scene in our daily life. With the hope the homeless person who live on the edge of society, can put themselves into normal city exisitence. Design is influenced by “neoplasticism”: simple geometry, the style of cubism and rationalism. Meanwhile, it also takes inspiration from women’s fashion from 1960-1980. Contact: Email: 1539377493@qq.com Instagram: sichen468
Project Manifesto: A contemporary womenswear collection that explores a range of knit technques to create materals that shape elegantly on to the body Fundamentally flawed is insipired by New York architecture and interiors. Examining the flaws that are within. Contact: Email: clairgemmaporter@hotmail.com Instagram: clairgporter Web: https://clairporter.com
Project Manifesto: The theme “Organic formation� entails the natural occurring shapes and formations within the natural environment whether it be vegetables or trees. It can include the actual formation within chemistry and range to visual sources within formation in the environment. Contact: Email: Sheryl.hadgkiss@gmail.com Instagram: sheryl_hadgkiss Web: sherylhadgkiss.wixsite.com/website
Project Manifesto: With the Band: My final collection explores the women of rock and the mark they have left on rock music and fashion. A genre heavily male-based, I wanted to focus on the unapologetic dominate females in the rock scene touting sexuality, style, and spunk. Inspired by stage lighting from concerts, I have projected coloured lights onto flower arrangements to develop patterns and colour. Exploring fabrics associated with rock to developed within screen-printing and experimenting with techniques. Contact: Email: c.turpinbrown08@gmail.com Instagram: charlottetb_ftd Web: cturpinbrown08.wixsite.com/8ctb
Project Manifesto: Focusing on the cyberspace element of innovative architecture. Mainly using project proposals of architectural plans that were not built but still influence architects and sign in general. Also using influence from iconic, notable architecture from around the world such as Dubai, Shanghai, Tokyo and London. Influenced by Alexander Wang, Alaia and Christopher Kane to create a sportsluxe apparel but also questioning material choice and surface texture to give the illusion of layering and enveloping much like the architect Zaha Hadid. Contact: Email: JayadSharma1@gmail.com Instagram: jayasharmaknit Web: jsknit.wordpress.com
Project Manifesto: ‘’I design for circularity, and my strong principles direct me through my projects. For my final project, the aim was to tackle our linear take, make, dispose system with researching a concept of chemical recycling. In chemical recycling, textile waste is re-formed into new fibres, and the fibres are used to make new products enabling infinite and circular life cycles. A starting point for my project was a T-shirt made from hemp, and a result after chemical recycling was fine and lustrous fibres.’’ The research was done in collaboration with Ioncell-research team at Aalto University, Finland. Contact: Email: info@susannaraiskio.com Instagram: susannaraiskio Web: susannaraiskio.com