Process Unfolding

PROCESS UNFOLDING

A ‘LOOK BOOK’ OF EXCERPTS FROM DESIGN PROCESS PORTFOLIOS OF THE MDES FASHION + TEXTILES PROGRAMME

Toiles-Fold&Skirt 1.16

GS≤A

DPP WORK SHOWN AS PART OF GRADUATE DEGREE SHOW (MDES FASHION + TEXTILES) 2010 SHOWING CATE GILLON’S NEWSPAPER FORMAT DPP3

MARÍA PAULA BARÓN ARISTIZABAL DPP2 EXTRACT: STILLS FROM DOCUMENTARY VIDEO A BIT OF PAINTING . . .

2012

PROCESS UNFOLDING A ‘LOOK BOOK’ OF EXCERPTS FROM DESIGN PROCESS PORTFOLIOS OF THE MDES FASHION + TEXTILES PROGRAMME, THE GLASGOW SCHOOL OF ART.

This small collection of excerpts is gathered from a range of student Design Process Portfolio (DPP) submissions over a five year period (2009-14). It does not aim to be comprehensive, but can be described more accurately as a look book of visual material, which offers a glimpse of experiences on the programme.

For the Masters in Fashion + Textiles, the ‘creative journey’ plays a central role, as well as the final outcomes. The process of Design in Fashion and Textiles is an area only relatively recently receiving attention (with Fashion publishing tending to focus on end products).

However, feedback from graduates and industry alike, highlight the growing importance of understanding and communicating the research and developmental stages of the Design Process.

As part of the programme, the Design Process Portfolio (DPP) course allows students to develop methods to systematically capture and articulate their individual Design Process as it evolves. Drawing upon a range of research methods and presentation skills, the course supports students in terms of self-awareness and reflective learning, as well as analytical and presentation skills. The final DPP components form a visual narrative, evidencing the (often hidden) early work, from original inspiration through to final design. Three submissions are produced over the year.

At the core of the DPP lies the Log. Variously described by students as a ‘personal archive’ or ‘sponge’ for their ideas - or even as ‘Harry Potter’s pensieve’, where memories are stored - this is a personal, detailed account of design activity. At times messy or incoherent, the Log reflects progress for each student. The very visual final folios are a more polished and highly edited outcome from the Log.

Over the years, the Logs and DPP components have variously incorporated written prose, notes, annotations, lists, emails, documentary photographs, found photographs, objects, drawings, sketches, paintings, video footage, scans, swatches, cartoons, maps, diagrams, signs, symbols, colour coding, collage, plans, web pages, graffiti and more, resulting in a rich array of information. This diversity allows students to explore the best medium for their working methods. The selection of extracts shown represents a tiny fraction of each student’s story. Together they demonstrate a range of approaches and formats adopted in recording and presenting their practice.

The focus of this ‘look book’ is on showing visual aspects of the final folios. DPP copies are often used to illustrate areas of the programme for prospective students, and they work well to show the breadth of practice. With this in mind, these excerpts are gathered to serve as an introduction - a series of snapshots for those students whose work is included.

What cannot be reproduced here is the deep level of written reflection, and the clear narrative of the final submissions in their totality (these excerpts have had some personal or incomplete written content removed).

I encourage you to visit the annual Graduate Degree Show or Graduate Open Day at The Glasgow School of Art to view the full DPP accounts first-hand.

Helen McGilp Design Process Portfolio Course Masters in Fashion + Textiles

LAURA SCOTT DPP1 EXCERPTS (MIXED) 2009-10

dpp1

Laura Cristina Scott

MDesTaF 2009

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20% hit / 80% miss Not the right colors Not the right shapes Not the right message But at least looking at the right place

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Jan Svankmajer,Prague born filmmaker. Banned by Czech authorities in 70’s decade because of his social/human struggle themed short films.

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100% hit That all the posters rescue the human element The mask idea The beautiful combination of graphic/photographic Grain and texture

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90% lost : Trying to find about the artists, photos from the cities, graffitis... all the same time on the web Researching about the artists is driving me nuts, can’t find any of them. can’t find books for my subject at the library

10% passion

Urban shots and graffiti will go first then...

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100% inspired Somehow I found Glasgow’s East End very similar to East Williamsburg, Brooklyn

Industrial used to be industrial abandoned grimy gray nostalgic

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Others have portrayed Russia with their LOMO; I had portrayed New York . It’s Glasgow’s turn. My favorite building at Glasgow

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Natalia Goncharova,1912

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100% texture Film 3d material Ink Pencil pressure

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100% experimentation The rotation for printers just got started!

Converting 2d in to texture. Saturating, desaturating, letting the pigment flow Lesson learnt: do not try to stain by sprinkling water after procion applied

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Procion printing on cotton jersey

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hands on!

Staining fabrics. Trying to control the stains.

Create texture through freedom of pigment.

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Procion printing on cotton voile

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100% confusion Simultaneously to my russian research, I had to move forward with my historical research and my market research. But I just couldn’t figure out how to classify my subject.

Is my russian art book my historical research?

How is it fashion wise?

Are those russian folk dresses my market research? should I be looking for printed garments at my market research?

Should I be looking interesting shapes?

I was very confused

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50% hit / 50% de toured Meanwhile researching about YTEB, (russian fashion house allocated in Paris after the Russian occupation) I found Iya Grigorievna.

I was mainly interested on the cape and the dress, but I was completely distracted by this powerful woman’s face and pose.

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x% ready

/

Need to see my tutor as soon as possible!

The amount of information is overwhelming! No idea how to classify it, Have too many ideas, too many conclusions.

Need a feedback a slap in my face and get organized...

y% Overwhelmed

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speckles of triumph

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2 CD covers from a russian band from Moscow

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After my tutorial, but before my group critique, I started to create groups on boards.

Edit.

Create connections between them trough specific pieces.

Decide which pieces attention the most.

called

my

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October 15th 2009 RIZOMATICAL MAP

print

saturated

global concept: color

muted

washed out

mdes research

Eastern European art ( russian, czech, polish) Period: During and post socialist occupation

estructure Dresses: xix, xx, xx centuries

pleats pattern

altered by time

orthogonal graphic

ruffles drapery

texture

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global concept: volume

texture

Cut

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fashion designer clothing

fashion broken link

Material object

Adornment

broad social phenomena

(essay by Georg Simmel) Clothes and fashion

aestheticism

Sociological impresionism precise forms n materialities of the physical enviroment where we live 2 I started reading the book “Fashion Classics from Carlyle to Barthes” before my first critique with my tutors. I was feeling seriously uninspired.

Didn’t really understand anything of what was happening with me. I finished it, but I’ll reread it; worth it. Didn’t wanted to recycle fashion.

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print: digital

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print: digital and procion

no shape to aspire to be like found yet

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My tutor, responsible of showing me the most inspiring and beautiful guerrilla book. After that book every idea made sense

typography concreting suprematism

verbing creative writting

constructivism

guerilla art book

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anti-propaganda

*I drew the fine line. I can’t make a 100% creative writing styled book because you wouldn’t be able to know what am I talking about! But I used elements. Did my best being balanced.

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priority

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YOUNGJOO YOO DPP3 EXCERPTS (MIXED) 2009-10

FRONT

BACK

PAINTING TEST ONTO THE GARMENT DIRECTLY

REFLECTION OF WORKING PROGRESS

BE JOURNEY² Ye Li

YE LI DPP2 EXCERPTS (MIXED) 2010-11

‘BE’ JOURNEY²

Toiles-Fold&Skirt 1.12

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Prints

Print-Colour&Research 2.30

Prints-Colour&Research Prints-Sample 2.47 2.40

Prints-Colour&Research Prints-Sample 2.48 2.41

Prints-Sample 2.55

Prints-Visualsation 2.56

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KATHERINE BROWN DPP1, 2 + 3 EXCERPTS (MIXED PAGES) 2010-11

KATHERINE BROWN DPP3

W H A T O N E A R T H A M I D O I N G?

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YO OU U C CA AN N D DO O II T T Y KN N II T T Y YO OU UR R S SO OC CK KS S O OF FF F K EA AT T E EN NE ER RG GY Y F FO OO OD D E 8A AM M T T II L L 6 6P PM M 8

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INGRID GARRIOCH DPP EXTRACTS (MIXED) 2010-11

INGRID GARRIOCH MDES FASHION AND TEXTILES DPP3

SCRUNCHED paper

would fabric even do this?

3-D Work on Mannequin Scrunched detail Ingrid Garrioch Digital Photograph Own Image

ABUNDANCE + DECADENCE meets

REAL + RELEVANT

On Board Burray Zulu “Loch Loy” Fisherman Photograph Orkney Library Archive Photocopy of Black and White Photo

I JUST

HIT

MY BRICK WALL

CHANEL WILL YOU

STOP HAUNTING ME

Thanks.

LUCY TURNBULL DPP2 + 3 EXCERPTS (MIXED) 2010-11

Design Process Portfolio 2 Lucy Turnbull

MDes Fashion and Textiles 2010 - 2011

Figure 9: “Chenille map” (20cm x 30cm)

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Jumping Jackets

Figure 10: Chanel double breasted jacket

Jumping Jackets

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I also did a sample with small accents of mustard chenille- I had to get this colour out of my system, so I just went for it!

I like it, but I am beginning to now see what Beca was meaning about tone on tone- it works better than different colours on the linen. However I do like the contrasting colours on the wool and organza.

I received feedback from Beca regarding assessment where she went over my marks, going over my strengths and areas that could have been improved. She talked to me about colour again, and told me that I would need to convince her if I want to bring in colour and make her understand why I wanted to use it so much, so that she knew it wasn’t just because I was so used to using it in my undergraduate. I intend to make a mood board to present to her when I see her again in two weeks explaining why I am NEED to bring in COLOUR! I am happy with my feedback and I will now embark on my colour persuasion mission!

(Opposite) Figure 43: Accents of mustard chenille on linen (22cm x 30cm)

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Sampling

Figure 79: Chenille block shapes on organza (29cm x 40cm) Figure 80: Leather strips on organza (27cm x 38cm)

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Figure 81: Embroidery placement on trousers illustration (21cm x 29cm) 73

Week beginning 18th April 2011 This week I have begun my working drawing ideas for my five looks, experimenting with different patterns and textile placements on flat drawings of my four garments- keyhole top, dress, organza trousers and woven trousers. I have definitely found that drawing my ideas out has helped me a lot, as more and more ideas are flowing naturally from one to another.

Figure 10: Flat collection working drawings

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Embroidery Placement

Embroidery Placement

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After talking to Beca about placements, I have began working on a chenille on organza sample in the shape of an actual leg, which I think will really help the viewer identify exactly where I want my embroidery to go on the body.

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Figure 11: Grey speckle chenille on silk organza

HEATHER YOUNG DPP1, 2 + 3 EXCERPTS (MIXED) 2012-13

Heather Young 2013

Wool coat dyed in oak husk.

Screen printed with glue and clear foil , using the plaid pattern with silk trousers and large blob screen print.

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Obstacles February 26, 2013 I received an email from Juliet saying that I was welcome to use the dye/print lab this week after writing to complain about restricted access to Alan.

I am happy that things have been ironed out.

I cleaned a screen with the new power hose. It was amazing. Today it took about 15 minutes. Fixed and working! I have 4 more images I will put on the screen on Friday. I also brewed up a vat of Heather flowers and dyed the swatches a yellow. I will try silk screening with walnut husk brown on Friday.

The sampling is coming along. The resists did not turn out as clear as I would have liked. The colors seemed to bleed a bit, and in some cases it was just a dye mash up of muddy colors. Some of the rice flour resist paste gave interesting cracked patterns.

The potato dextrin lacked the cracked effect it’s known for. It may be the fabric, I don’t know. I will try again. I could sample different techniques for a very long time.

March 2, 2013 I didn’t have high hopes for silk screening with natural dyes. I’ve seen it done before with little success. The colours are not vibrant and the paste is watery, causing the image to come out weak and diluted. Today I managed to get the right colour strength with the walnut husk dye. First I let it sit in water overnight, and by morning it was already completely black. A good sign. Then I cooked it up on the stove at school to extract any more colour that hadn’t already been released. It smelled very earthy. I I didn’t have high strained the husks out and hopes for silk screenmixed the ing with natural dyes. co n c e nt rate d dye liquid with the seaweed thickener. I had just exposed a new screen with a few new patterns I wanted to try. I decided to put down the swatches I dyed in turmeric yellow and try the walnut brown on top of these. I used a pattern that reminds me of giraffe spots. They are kind of random shapes of torn paper, pieced together. On the wool I made 4-6 pulls to get a good deep impression, and two on the silk. I knew any more would have made it bleed. When I lifted the screen there was this bold, crisp beautiful pattern. I was so happy to see something work out after a full week of experimenting and creating disappointing samples.

What a relief. I know that combining the colours correctly is going to be tricky but if I can come up with 3-5 good samples, I will be happy.

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The Oak dye washed out of the fabric and the pattern is barely visible

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Resolutions I decided to re-visit the citric acid as a discharge agent. (after having poor results the first time) I wet a bunch of pre-dyed swatches and sprinkled the crystals on top to see if anything would happen. Previously I dissolved the crystals in water and painted the liquid on fabric – with no results. Almost immediately the crystals started acting like salt and began to alter the base colour. It worked best on the grey silk satin (oak gall and iron) and gave it cream blurry spots. I tried another swatch of the grey but only let it sit for 3-4 minutes, and then when the impression looked sharp I removed crystals and washed the fabric. They look like a constellation of stars. Not so bad.

Urea After speaking with Alan and Stew from the Digital Print Studio about my dyes washing out, they suggested that I add urea to the dye paste when I silk screen. It comes from the urine of animals and I had read about dyers using urine to fix dyes in the olden days. I tried it, and it seemed to work well.

It sets the colour in the steaming process. I am so relieved to find a solution to my problem!

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Silk dyed with Madder drying on the railings.

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Wool dyed with walnut husk and screen printed with glue before adhering clear foil.

Self-reflection /Keeping sane

I have come to the conclusion that all the areas of my process feed into one another. At times it can be hard for me to see the links, but when I do see them, it’s very satisfying. I’m bringing together historical references, art and craft, nature, current trends, plain old observation, and my skills to make a collection. The most fun I’ve had recently has been painting and drawing. It’s new territory and I feel like I’ve been pushed to develop a skill I never really knew I had. The marks tell a story and they feel very personal, and that means a lot to me.

To be documenting my process and reviewing it has been very interesting for me. I am more aware of what I put in and what I put out. I am open to my environment, ideas and things I find beautiful like never before.

The Log is a challenge to practice but it holds the story of how I navigated my trip.

I’ve been feeling really content and happy about where I’m at these days. School was a very scary thought for me a year ago, and now it feels like I really should be here doing this. At times, I wonder what will I do with this degree and what kind of job will I have, but I am trying to banish these thoughts from my head because they are distracting and unnecessary. I am trying to enjoy myself and know that time passes quickly. 2

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JULIE WHITE DPP1, 2 + 3 EXCERPTS (MIXED) 2012-13

M.DES FASHION & TEXTILES 2013 DESIGN PROCESS PORTFOLIO 2

PREAPARING THE WORKSPACE: NEW MOODBOAD AND DRAWING MATERIALS

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BR I D G I N G THE GAP BE T W E E N R O U G H L Y D R A W N I D E AS IN T O E V ENTUAL FULLY R E N D E R E D P R I N T D E S I G N S Monday 4th February

I have started using different materials and rendering styles to establish a print aesthetic that will run throughout the prints.

I come from a screen-printing background that usually involves very set perimeters on colour and print style. As my proposed outcome is to produce the collections prints digitally I’m entering new ground, leading to much broader perimeters for print possibilities. I can produce prints in any colour that capture details from watercoloured looks, finely detailed lines, photographic montage.....

The possibilities are virtually endless.

This is exciting but also challenging. With a new set of tools compared to what I’m used to, I feel like I’m starting from scratch in a lot of ways and I’m predicting there will be more advanced technical skills I will need to learn.

It’s best to not feel overwhelmed by the possibilities and to develop some perimeters to work within. I’ve come to recognize this is important to address. I’ve realized that in attempting this next stage where I must start intensive drawing experimenting and trailing, I have quite high expectations of the finished results.

So this week, I’ve set myself the goal to just make a start on small details and one component at a time. I’ve made a start by focusing on drawing one flower head, and to practice rendering it in different ways. This is an ideal start and the rest should work itself out from there.

I’ve made a start on drawing using an Australian wild waratah flower head.

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INITIAL STAGE: NEW QUESTIONS & THOUGHTS RAISED

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PATTERNCUTTING Thursday 30th May

Today was the official start of stage 3 and Juliet briefed us on what to expect over the next few months.

It’s now time to start managing a tighter schedule and to start making final decisions. This is the shortest time frame of all stages.

For the first time we sat down and discussed the fashion promenade.

It’s exciting to start to think about styling and the finishing touches as my collection becomes more apparent, but there’s a lot of work to do before getting to this point.

Today I started reviewing the photographs taken from the toile fitting.

I made notes on any alterations needed and assessed the finer details such as hem lengths...

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NING WANG DPP1 + 2 EXCERPTS (MIXED) 2012-13

JULIA MACLEAN DPP1, 2 + 3 EXCERPTS (MIXED) 2011-12

Julia Maclean Design Process Portfolio One 2012

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Tassel. Length. Thickness.

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Texture. Colour. Shape.

15. Series of four drawings.

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Drawing Geometrics.

16. Two drawings of distressed geometric shapes.

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8.Series of log entries.

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11.Knit sample wash tests.

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The first edit...

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Tuesday 24th April I was able to show Beca all the knitting I did in Shetland. We discussed the different washes I have done in order to get the knits washed, soft and slightly felted. I failed at this, my machine either felts it too much and makes my knits too firm, or they are not felted enough and the stitches will run when I cut the edge. So we have decided to wash the final knit in Shetland as the samples from the wash up there have felted ever so slightly and we are pretty sure the stitches will not run.

Beca was really pleased with the reults so we were able to select the final line up for my collection which was very exciting! We married up the knit design, knit colourway, faux suede colours and the skirts/ trouser. My next task is to produce fiftly drawings demonstrating possible knit placements, colour, and whether the jumper will be worn with a short skirt, long skirt or trouser.

I was originally unsure about how to approach the fifty drawings.

Each student takes a different approach, and I wondered if my method was good enough? I decided to use my photographs of my toiles as the outline and then to draw on top of these to show the different placements and colour options. I also wanted to represent the yarns I was using as best I could. So I used watercolour to represent the soft shades of the lambs wool, tippex to represent the viscose and chalk to signify the soft lines of the mohair. In order to get the clean lines I like so much I scanned in my drawings and cut them out in photoshop. I think they show my style and collection well. Beca said that they represented me completely which I am pleased about.

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49.Series of drawings exploring design possibilities.

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30. Revised design process map.

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STEPHANIE MCAVOY DPP1 EXCERPTS (MIXED) 2012-13

Monday 17th September 2012 During our first meeting with Beca we were briefed on the first stages of our Masters programme and introduced to the large amounts of visual inspiration that The Glasgow School of Art library holds. She encouraged us to “walk along the library shelves, and if you like the look of a book’s spine pull it out and have a flick through.”

This was a very refreshing approach to research which I have found vastly different from the undergraduate programme at the GSA. It is very exciting to conduct research without boundaries or limitations, and it is also exceptionally inspiring which is obviously essential at this stage of the course.

Using Beca’s advice, I began exploring unfamiliar areas such as urban renewal and Japanese photo-books, but funnily found myself steering back to my comfort zone of colour. It was as though I was exploring but had to return to something familiar to prevent myself from being over whelmed.

At this early stage I do not want to refine or restrict my research in to any kind of theme as there are still many areas of the library to investigate. Its very strange to find somewhere so exciting despite visiting it for the past four years.

Research without boundaries or limitations.

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Contradictions.

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Contradictory montage 1.

Contradictory montage 6.

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Thursday 4th October Cut. Stick. Cut. Stick. This pretty much sums up my day. It feels like a long process but its worth while as I am recreating beautiful and interesting drawing studies. I am still excited about my research and drawing but I also feel like I have very little to write about today, which feels a little wrong if I am honest. Today has been a doing day not a thought day.

Cut. Stick.

Cut. Stick.

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Art Deco cut out and opposite source 3.

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IRINA GUSAKOVA DPP1 EXCERPTS (MIXED) 2013-14

MOOD BOARD WALL INITIAL IDEAS FOR RESEARCH

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WEEK 1

I don’t want to go all space age and futuristic 60’s a la Pierre Cardin and Courreges so I won’t be using any plastic material like vinyl or using large exaggerated zips and buttons.

Two areas I want to explore are 60’s fashion and geometric patterns, forming a direction for my silhouette and textiles research respectively.

Having some related images saved on my laptop helped me to find a starting point for my research, as obviously geometry is such a vast field to define.

I had a few artists in mind that worked with graphic geometric shapes to look up.

As for prints I’m interested in graphic geometric patterns.

To start off my print development I want to do some collages, using different textures and colours and mixing them up. I’m planning to collect various types of paper, fabric, mesh, bubble wrap, etc. to scan them in and use their texture to build up geometric collages.

Some of them coming from Modernist Period of 20th Century like Sonia Delaunay and Josef Albers and some more contemporary/modern ones like Patrick Scott (printmaker working with geometric forms in gold leaf against pale background) and Rafael Soto, an Op Art artist who’s mainly working with stripes.

In terms of the 60’s silhouette, I like boxy shapes and straight shift dresses of that era. Trouser suits with cropped trousers and boxy/oversized tops or jackets.

I terms of fabric, I’m thinking of using some crispy structured material to keep the boxy straight silhouette, like cotton (maybe coated cotton?) and organza or cotton organdy to juxtapose it with textured prints or some other thicker fabric.

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PLAYING AROUND WITH DIFFERENT LAYERS OF STRIPES AND DOTS ROTATING THEM AGAINST EACH OTHER AND COMING ACROSS OPTICALLY ILLUSORY COMBINATIONS

I’ve been researching more on Rafael Soto’s art.

Reading his interviews and some overviews of his Op Art work. It was interesting to discover his work process and to learn the methods he used when working with geometrics.

Though most of his work looks quite rigid and controlled, his working methods are not.

Once, for example, he stumbled across a grid with round holes in a hardware store used to hold radio parts together and bought it to try to use it in his work. He painted it black and placed it over white background. He then copied all the dots in white in order to place them over the first grid but slightly displacing them.

As the result the superimposition produced a visual effect of a third value, like there was another layer inserted in the intersection of the two.

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Toiles-Fold&Skirt 1.16

Master of Design (Design Practice: Fashion + Textiles)

The Glasgow School of Art

Department of Fashion + Textiles

School of Design 167 Renfrew Street

Head of Department + Programme Leader:

Glasgow

Jimmy Stephen-Cran

G3 6RQ www.gsa.ac.uk 0141 353 4589

School of Design

design@gsa.ac.uk

Head of School: Professor Irene McAra-McWilliam

Front and Back cover images: Ye Li, Extracts from DPP2: Be Journey2, 2010-11

Director: Professor Tom Inns

Toiles-Fold&Skirt