VOICE
STUDENT DESIGNERS WAITING TO BE HEARD
ISSUE ONE, 2018
CONTRIBUTORS EDITOR Maisie Taylor GRAPHICS Karis Evans SPECIAL THANKS TO Central Saint Martins Charlotte Stoker Daniel Chan David Cottington Emma Hubbard Hannah Butler Hannah Elisabeth Jones Jacklynn Botwin Judith Watt Lilly Franklin Louise Linderoth Lucy Baker Monica Birzan Patrick McDowell Samanta Bullock Wenjun Zhu
COVER: LOUISE LINDEROTH
3
CONTENTS A LETTER FROM THE EDITOR, page 6 SECOND CHILDHOOD, page 8
De Montfort University’s David Cottington took a light-hearted approach towards his final degree collection, bringing a tasteful look to youthfulness in menswear.
AN INTERN’S DREAM, page 12
The good, the bad and the ugly of university internships.
FRESH FACES, page 16
In coversation with final year design students from across Britain.
DECONSTRUCTING DENIM, page 49
Louise Linderoth brought her final degree collection “Have a Seat” to London, showing us the ways we need to question our use of denim.
LIKE FATHER, LIKE SON, page 54
The Central Saint Martins designer who based his final collection off his relationship with his father, and a climbing trip to Mont Blanc.
FASHIONED FOR ALL, page 63
With an industry that claims to be working towards diversity, there is still plenty of work to do. In conversation with model Samanta Bullock.
BEAUTIFUL WASTE, page 70
An interview with Hannah Elisabeth Jones about her discovery of BioMarble, the sustainable material made from paper waste.
THE TOOLS TO WORK, page 80
Looking into programme facilities, are universities truly providing adequate technology for students to excel?
5
A LETTER FROM THE EDITOR VOICE IS A STUDENT PRODUCED MAGAZINE FOCUSING ON ONE OF THE MOST IMPORTANT ISSUES IN FASHION: EMERGING DESIGNERS IN BRITAIN. STUDENTS AND YOUNG DESIGNERS ARE THE FUTURE OF FASHION. WE BELIEVE IT IS TIME TO LET THEIR VOICES BE HEARD. FASHION REVOLVES AROUND NEW AND FRESH IDEAS IN WHICH WE AT VOICE ENCOURAGE YOUNG TALENT TO PRESENT THEIR WORK. BRITAIN IS HOME TO WORLD CLASS UNIVERSITIES AND COLLEGES, WHICH OFFER FASHION DESIGN COURSES FOR BOTH UNDERGRADUATE AND MASTERS DEGREES. THESE INSTITUTIONS AND THEIR STUDENTS HELP CREATE THE INFLUENTIAL AND ASPIRING WORLD OF EMERGING TALENT. THIS IS THE PLATFORM FOR STUDENTS, ALUMNI, TUTORS, AND FASHION ENTHUSIASTS TO COME TOGETHER TO DISCOVER THESE VOICES.
Maisie Taylor Editor 6
SECOND CHILDHOOD De Montfort University’s David Cottington took a light-hearted approach towards his final degree collection, bringing a tasteful look to youthfulness in menswear.
A Look at Cottington’s Final collecton. Soft pinks and pastel blue mesh are reworked with hand crochet pieces. Photo by David Cottington 8
Soft pinks and pastel blue mesh with hand crochet. Photo by David Cottington
W
hen asked what he wanted to take away at the end of his final year collection, designer David Cottington’s answer was “my own little baby”. Although he has a tendency to get kicked out of the De Montfort studios at closing time by security, this designer has dedicated his past years in university producing a collection that he is proud of, and hopes others will appreciate the excitement and passion he puts into his work. As we age, our knowledge, skills, and behaviours grow with us, and David has based his final collection on the tension between immaturity and growth. With an interest in
to excite the viewers. Cottington lightens his approach, reflecting on how every adult has had a childhood, youth, and adolescence that an easily be referenced from photographs, memories, and experiences. From birth to adulthood and death, his collection consists of menswear based on the significant milestones in one’s development. Life stages begin with soft babygrows, and transition slowly into toddler pajamas and dressing gowns. David added his personal touches by creating these garments from soft leather and crochet of blues and pinks, and a classic shirt and jumper offers a nod to school uniforms. This collection of soft colors and textures is a fresh take on the nostalgia of childhood. The collection consists of soft baby blues, pastel pinks, and pale yellows, creating a subtle colour palette which complements the interesting detail of the garments. Cottington uses a recurring theme throughout his collection, applying crochet into mesh, resulting in a soft 3-dimensional texture. Embroidered details and crochet finishes complete garments, while David hand sketches illustrations straight onto materials with pen to add playful embellishments. This designer has reflected his experiences, creating something both youthful, yet tasteful. A tailored mesh and crochet jacket shows his true eye for detail and technique. In contrast, hand drawn illustrations lend a childish air, recreating the tradition of having your mates draw crude images and phrases on your school shirt. Each garment in this collection is based off a significant stage within one’s life, reflected throughout the intricate and carefully tailored menswear. This collection leads us to question the relationship we hold with significant life events, as well as the human characteristics and traits we all are familiar with. While immaturity is often regarded as negative, and as something to overcome, this designer mines his memories to define his work. Cottington’s final collection is the perfect example of how we should learn to embrace our younger selves as we dream about the people we will become.
”I WANTED IT TO BE A CELEBRATION OF MY RELATIONSHIP WITH IMMATURITY” taking a lighthearted and humorous approach, this designer finds himself “poking fun” at fashion. Initially his concept began around the similarities between the beginning and end of life, and the childlike characteristics present within both. David has spent the final year of his Menswear degree at De Montfort investigating the different stages of male life, and the attributes of maturity and immaturity. Looking into this concept of life and questioning our views of adolescence and adulthood, he brings a playful yet serious tone to this final degree collection. The fashion industry today is busy with odes to renaissance paintings, and dark romanticism compiled into theatrical catwalks. One thing we could use more of is playful and energetic designs 11
AN INTERN’S DREAM The good, the bad and the ugly of university internships.
12
Designer Daniel Chan uses skills gained through his internship to help create his work today Photo: Daniel Chan
S
tudying at university can easily be the hardest and most challenging years of our lives. Once students graduate, everything gained throughout those years works as a fragmented stepping stone towards an uncertain future. Fashion-related placement years and internships are a student’s way of gaining valuable skills and connection alongside their coursework. While the extra work is optional, universities recommend that students take this time out. That being said, like any degree collection or student work, not everything goes to plan. But with minimum to no pay, long hours, and unreliable jobs roles, are these internships really beneficial for students? Many students decide to take part in a placement year out, or maybe an internship or two (or three) while still on their course. This is an ideal way of getting a foot in the door and preparing one for what lies after graduation. Some are eager and participate in multiple work experiences and internships, and some focus on quality, not quantity and settle for one continuous but beneficial placement. When applying for jobs after graduation, it is one thing to have a well known or successful degree from a top university, but within the fashion industry it seems the degree is only a minor detail, in which the internships and work experience make the most impact. Students have tuition fees, material charges, and living expenses to worry about, alongside their coursework. The downside to these internships and placement opportunities lies within the fashion industry mindset that students and interns do not need to be paid. Where the opportunities are in such high demand, there will always be someone who will do the same job for next to nothing. For most students, the work experience tends to outweigh the lack of pay, by spending a week onwards or several months, students gain valuable education through these opportunities in which they can use their experience towards their coursework. Designer Daniel Chan studies Textiles: Print at UCA Rochester. During his second year in university, Chan interned with English fashion designer Giles Deacon, where this opportunity taught the young designer hand embroidery techniques which are used in his current work. For students like Chan, an internship is solely
about gaining valuable lessons that can help shape the way these students work in the future. Designer Lilly Franklin studies Costume Design and Making at Nottingham Trent University. Since 2013, Lilly has worked as an Embroidery Assistant for costume maker Cathryn Avison, and has also had the opportunity to work for placements including The Royal Opera House London as a Women’s Costume Assistant/Maker, and a Wardrobe Assistant for the Birmingham Royal Ballet.
“WORKING WITH AN EMBROIDERY DESIGNER HAS BEEN HIGHLY INFLUENTIAL IN MY COSTUME PROCESS” Through these high profile names, Franklin has had the chance to have her hard work appear in films like Pirates of the Caribbean, The Mummy, and Netflix’s The Crown, as well as onstage productions through The Royal Opera House and The Birmingham Ballet. Through the opportunities presented by these notable names, Lilly has not only learned to work towards tough deadlines, but has also had the opportunity to build a portfolio of beautiful tailoring, hand embroidered motifs, and beading. The experience for Lilly to collaborate on these notable projects has provided her with the chance to understand what Costume Design after university may entail, and develop herself as a designer with meaningful experience in the industry. Internships, placements, and work experience are just as important in a student’s life as their course is. Valuable skills, lessons, and techniques are gained which can build upon coursework, enabling students to investigate and explore all possibilities. Sometimes the most beneficial experiences for a student happen outside of their coursework. 14
A costume illustration of The Scandelous Lady W. Photo: Lilly Franklin
FRESH FACES
Student designers at Britain’s leading fashion universities are hard at work preparing for their final collections.
A look from the capsule collection for student Emma Hubbard’s final year work. Photo: Emma Hubbard
16
Central Saint Martins London Fashion Print WENJUN ZHU Can you tell a little about your final degree collection? “The inspiration of this collection came from a personal feeling about modern mediation process. A question about the technology-processing reality. What is our reality? All the prints and silhouettes are distorted from regular to extremely distorted, to explore the boundary between ‘real’ and ‘unreal’.”
How would you describe your design style and process? “My practice mainly focuses on the experiment with fabric surfaces through print and embellishment. Loads of mixture of different new materials and tranditional techniques. Recently I am trying to make fabric ‘papery’ and use plastic as embroidery resources.”
What piece of advice from a tutor or friend has helped you through your final collection? “What worries me is nowadays students want to be artists more than making art itself.”
Asymetrical dress made from distorted prints. One look from Wenjun Zhu’s Final collection Photo: Wenjun Zhu 19
University for the Creative Arts Rochester Fashion Textiles, Print DANIEL CHAN Can you tell a little about your final degree collection? “The initial concept behind my graduate collection comes from an observation of the overwhelming use and consumption of technology seen in today’s society, and how it can be restrictive to building and developing connections between one another.”
How would you describe your design style and process? “I would say I work in an organic way which is definitely process led, developed through abstract drawings and material play, responding to tactile qualities in quite an intuitive way.”
What do you do outside of university that helps you relax? “Having time off work to watch netflix, seeing family, and getting “too drunk” with friends. You dont want to burn out!”
An illustration from Daniel Chan’s final collection. Based on the abundant use of technology today. Photo: Daniel Chan 20
De Montfort University Leicester Fashion Design EMMA HUBBARD Can you describe a piece of work you are proud of? “The rose gold rain jacket is my outerwear garment. It has spray painted open dart details on the inside of the jacket. The pockets give off the illusion of a tailored jacket but are simply patchwork pockets.”
What was your biggest accomplishment throughtout your course? “I was selected for the GAP competition and was a finalist in 2017. I got the chance to go to the GAP headquarters in London and have a Skype interview with a designer from New York. Unfortunately I was unsuccessful, but it was still an amazing opportunity to get to be a finalist out of the whole country.”
Outside of your course, have you worked elsewhere as a designer? “Alongside my course, I work for Dirty Fingers (It’s not as bad as it sounds) Dirty Fingers is a children’s clothing company. Here I work on production, producing garments to order, using an array of processes including ink jet printing onto garments, vinyl cutting, and I have my own designs on the website for purchasing. I have a really good relationship with this company.”
24
Rose gold rain jacket, part of her outwear collection. Photo: Emma Hubbard
Fashion Illustrations by Emma Hubbard.
Ravensbourne University London Fashion Design LUCY BAKER Out of all your work produced, which piece are you the most proud of? “I am most proud of my latest piece. It is a work in progress look from my final collection, based heavily on outerwear and coats. The look consists of a dramatic black nylon coat, paired with a black cotton poplin shirt dress.”
Have you had any internships or work experience that has contributed towards your design? “During my first year at uni I interned with the design team at Temperley London. This was my first real insight into the industry and how a successful brand works. It taught me a lot about the design process, as well as how a fashion house prepares for a London Fashion Week show. So that experience was important and exciting for me.”
What techniques do you focus on within your work? “I love pattern cutting and so in my work I always try to experiment and explore new ways of cutting and interesting seaming. I love tonal looks too.”
Black nylon coat, with oversized tie belt from Lucy Baker’s final collection. Photo: Lucy Baker 29
Fashion illustrations by Lucy Baker
London College of Fashion London
Fashion Bag and Accessory Design HANNAH BUTLER What would you say defines your work? “Since becoming vegetarian, I aim to only use Vegan leathers in my collections. For my final year project, I have created a vegan accessory brand, which will showcase my design style and ethos.”
How did you find yourself studying bag and accessory design? “After college, I started an apprenticeship at a licensing company designing bags and accessories for high street brands. It was here I found my love for handbag design. I was soon promoted to Junior Accessory Designer but after a while decided to gain more knowledge in accessory design so enrolled at London College of Fashion.
How do you feel your course has helped you as a designer? “The course has been everything I hoped it would be. Learning how to cut patterns and make bags has vastly improved my knowledge of bags and their construction.” Bag designer Hannah Butler draws inspiration from her personal choice to become a vegetarian. Photos of design process by Hannah Butler 32
Bag design illustrations, by Hannah Butler
Nottingham Trent University Nottingham Costume Design and Making LILLY FRANKLIN What work are you most proud of? “I would say my final look for my degree is the one that I am most proud of. The look explores the hidden story behind The Scandalous Lady W. The character’s look is based around modernity and someone who challenged Georgian England polite society conventions. Through costume her garments explore soft fabric manipulation to represent her free character yet elements of her look show her repression from a male orientated wealthy society through thorn imagery. The costume is playful but at the same time makes a powerful statement ‘I belong to no man’”.
What are your hopes for the future? “I would love to be a costume maker for Film and television and to explore the diversity of the industry and talent. The sky is the limit”
What have you worked on previously? “Alongside my Costume Design and Making degree I work for Cathryn Avison as an Embroidery assistant, since 2013. Working collaboratively with and embroidery designer has been highly influential in my costume process and understanding live deadlines.” Embroidered wool keyhole details from a costume design. Photo: Lilly Franklin 37
De Montfort University Leicester Fashion Design DAVID COTTINGTON What would you say is your approach towards fashion design? “I design menswear. I also design knitwear but would not class myself exclusively as a knitwear designer. As a gay man I have an interest in queer culture which is a great inspiration to my work and the market I’m aiming for. My work is naive and sometimes childlike with a playful edge.”
What are your hopes for the future? “I don’t obsess over the future as I did when I was younger. I’m grateful for each day and believe in working hard and being a good person, whatever else will be. I hope to be surrounded by love, to be comfortable, successful and hardworking in whatever I do.”
What are your plans for after graduation? “I really enjoy travelling, which is something that has been on hold while studying. I’m excited to graduate and disappear with a backpack for a few weeks!” Final collection mood board, featuring mens’s mesh boxer shorts. Photo: David Cottington 38
Northumbria University Newcastle Fashion Design and Marketing CHARLOTTE STOKER How would you describe your style and process? “I tend to work with pretty bright and bold colours because I like my collections to have an element of fun to them. I have combined the lingerie skills I gained last year with my collections for this year. I use layering a lot in my looks because I want the collections I design to be something a wearer could make entirely their own.”
What was the most challenging work you produced? “Lingerie is something I had not attempted before so it was a real learning curve for me. I created a longline bra in a navy satin with double straps that had mesh inserts that were embroidered inbetween and I also created a matching pair of French knicker style shorts in the same fabrics with an embroidered mesh panel down the sides. The embroidery was really fun for me to do as I enjoyed the detail required.”
What advice has a tutor given you that changed the way you design? “My tutor told me to only design things that I love and would wear myself. I think that this is important as it can be very hard to connect with a collection that you wouldn’t even consider purchasing for your own wardrobe.” 40
Fashion illustrations by Charlotte Stoker
“IT CAN BE VERY HARD TO CONNECT WITH A COLLECTION THAT YOU WOULDN’T EVEN CONSIDER PURCHASING FOR YOUR OWN WARDROBE”
Illustration of a cropped, denim jacket from designer Charlotte Stoker’s final collection. Photo: Charlotte Stoker
Leeds Arts University Leeds Fashion Design MONICA BIRZAN What is your proudest acomplishment as a designer? “In my second year I designed and produced a tailored coat that was part of a menswear tailoring module. With this coat I entered 2017 Golden Shears Tailoring Competition and I was one of the 25 finalists that had the opportunity to present their design in a gala catwalk show at Merchant Taylors’ Hall. Also, I was selected as winner of a tailoring competition sponsored by Alfred Brown (Worsted Mills) Ltd, which resulted in my garment being showcased at Milano Unica, Milan, Italy, July 2017”
What is the concept behind your final degree collection? “I explored the duality of British historical notion of the shirt with the Romanian shirt and its traditional costume. The notable features of this collection will be the all-navy looks, oversized deconstructed motifs and voluminous silhouettes.”
What are your plans for after you graduate? “After graduation I will return to Romania for a while and I hope that I will create my own brand but at the same time help my parents with their business as they run a children’s wear company.” Traditional Romanian costume and historial British shirts make up the all navy graduate collection. Photo: Monica Birzan
44
Initial design concepts, and research. Romanian influenced silhouettes and navy colours to complete the final collection from Monica Birzan. Photo: Monica Birzan
DECONSTRUCTED DENIM
Louise Linderoth brought her final degree collection ‘Have a Seat’ to London, showing us the ways we need to question our use of denim.
Exaggerated and conceptual denim jeans, designed with a seated position in mind. Photo: Louise Linderoth
49
L
ondon is a city running off the purrs of sewing machines and adrenaline-fueled fashion weeks. Young designers come from all over the world hoping to work towards a bright fashion future. Being home to numerous fashion platforms for emerging designers, London is the place to discover new and fresh talent. Designer Louise Linderoth, from The Swedish School of Textiles, came to show her graduate collection in 2017, then went on to be featured in the likes of Vogue, The Daily Mail, and many Swedish fashion publications. Her collection “Have A Seat” was shown during Fashion Scout, London’s own showcase for emerging talent. Linderoth’s collection featured models proceeding down the catwalk in denim jeans, making us question the way the material would work for someone sitting in a wheelchair. After suffering a spinal cord injury 13 years ago, and only recently coming to embrace her situation and use a wheelchair, Louise noticed that the most uncomfortable items to wear while sitting were denim jeans. Louise began constructing her graduate collection “Have a Seat” to feature striking pairs of jeans with a conceptual twist. The final university degree collection can be the best starting point for a young designer’s career, and students are faced with many challenges from the start. Discovering your brand and design identity and maneuvering through the trials and tribulations of promoting your work are a few of the obstacles that must be kept in mind when beginning the journey. Linderoth’s collection not only impressed many, but shed a new light on important topics we sometimes fail to discuss. For Louise, her final degree collection came from a combination of personal experience and a keen eye towards what is missing within today’s fashion. This collection featured models proceeding down the runway in wheelchairs, which initially caught the audience off guard as it disrupted the expected catwalk norm. Faces lit up in the room as each model came out, most in wheelchairs and some walking. We all recognize wheelchairs on the street, but people were surprised when the collection came out. For something so routine to see, Louise’s garments
made us question why we rarely take diversity into consideration while we make clothes, buy clothes, and look at clothes on the runway. The fashion industry has made a lot of changes in recent years, but we still have plenty of work to do for a completely inclusive fashion future. It took a long time for western fashion to feature models of diverse backgrounds and body shapes, and we still fail to include people with physical disabilities. Jeans and denim are a familiar clothing item and material that have survived years of manipulation, shape changes, colouring, and wear, and are fashion staples that are worn across the world, by people of all backgrounds. For something so classic and conventional, one might assume the traditional jeans shape would be allinclusive, yet we never question those who may not find the same comfort within the material. Louise Linderoth found that the firm and rigid structure of the material can become irritating after sitting for a longer amount of time, which is where the inspiration behind “Have A Seat” developed.
“JEANS ARE SUCH A LEG-GARMENT. I WANTED TO WORK IN A MORE EXAGGERATED AND CONCEPTUAL WAY” Denim is a tough and sturdy material, which makes it practical for typical everyday wear. When regarding the shape and texture of jeans, we never question how they will feel while sitting down, but people who spend their days in that position can soon begin to feel the negative effects of the material. Along with the shape, the waist and legs of jeans are designed to become flattering to the typical wearer, in which the bend at the waist when sitting can become an extremely impractical and uncomfortable cut. “Jeans are such a leg-garment” Louise believes, 50
Early stage of Linderoths deconstructed denim process. Sketch by Louise Linderoth
Linderoth’s collection “Have a Seat” Photo: Fashion Scout 2017
which led her to deconstruct the material and rebuild into a shape fit for a seated position. “I wanted to work in a more exaggerated and conceptual way, so I got to think more deeply into denim and jeans.” The collection consisted of oversized and elongated silhouettes, where jean waists extended above the shoulders, legs became sleeves, and waists transformed into tops. The traditional washes of dark indigo and lighter washed denim were the main colour palette of this collection, bringing a sense of familiarity to all whilst simultaneously creating elaborate and unconventional denim shapes we did not recognise. Although denim jeans are a staple item within our wardrobes and clothing history, we have never once doubted or questioned the ways we use them, or on the contrary, the difficulties others may have with the item. The collection was an instant achievement for Louise, a revelation to all who viewed it, and a powerful step towards a new approach in fashion for all.
“I SEE LONDON AS THE PLACE FOR A MORE CREATIVE FASHION SCENE” The opportunity to showcase a collection during London Fashion Week can be a daunting and intimidating time for a any designer, especially one who is not from the city themselves. Although leading up to the show Louise felt things were a little “chaotic”, she believes it should be that way, and always is. For Louise, she felt that London was the perfect place to show her work. “I see London as the place for a more creative fashion scene which makes it the ideal place for platforms like Fashion Scout”. It is a responsibility for a city like London to promote as well as nurture new and exciting talent. Fashion Scout was a key opportunity in this designer’s career in which she believes it is important to have fashion platforms to show your work. “It is very hard to reach out with 53
your work to the right people when you are new in the business… It’s a great way to reach out with your designs”. Being exposed to a wider audience is a beneficial way of promoting a designer’s work, which is why guidance from these platforms can be one of the most nurturing aspects for a designer. Louise found that Fashion Scout introduced her designs to a more international audience, allowing her to learn how to move forward within her designs. Linderoth used Fashion Scout to bring a new voice to an otherwise silenced topic. After showcasing her collection “Have a Seat” in London, Linderoth quickly built herself up as a designer. These deconstructed jeans made their way into publications across Europe, featuring this young designer, and her story. We dedicate time, money, and effort promoting a better world to live in, yet this collection highlighted the aspects we may have neglected. Since unveiling her collection, Linderoth has taken part in many important opportunities, with exciting future projects in the making. She is currently collaborating alongside Swedish jean/denim brand Dr. Denim. This collaboration between Linderoth and Dr. Denim will create a commercial line of jeans, based off the acclaimed collection, specialising in the production of jeans for all. Basing the upcoming styles off her original collection, this collaboration will feature denim jeans formulated from the shapes, pattern cutting, and styles that excited the public after her collection. This collection developed from Louise’s personal experience, alongside today’s demand for creating breathtaking and inspiring clothing fit for all. “Have a Seat” offered an innovative new approach to a common garment most of us take for granted. Linderoth’s story has made us aware of accessibility and convenience within our clothing, and opened our eyes towards a brighter and more inclusive fashion. The future of the design industry is in the hands of young designers like Linderoth, who combined their skills alongside personal experiences to create exactly what is missing. We can become too oblivious to what we have, forgetting to honor the needs and desires we have in common.
LIKE FATHER, LIKE SON The Central Saint Martins designer who based his final collection off his relationship with his father, and a climbing trip to Mont Blanc.
Yellow silk faille climbing jacket, and navy satin leg gaiters. Part of the graduate collection by Patrick McDowell 54
V
oice met up with Patrick McDowell, a womenswear designer from Central Saint Martins University in London, who is currently drawing from his past to create his future. Sitting down in the computer studio on a grey Tuesday morning, Patrick simultaneously scanned fashion illustrations while discussing life as a student designer, and where the initial concept behind his final collection began. Patrick can be found from morning to late night in the fashion studios of Saint Martins, working away at his final collection before the graduate show. This young designer’s work is widely recognized by both tutors and students across the university, known for “the yellow jacket” and a Swarovski pick-axe. While creating such exciting and intricate work, Patrick has paid close attention to the sustainable footsteps he takes while designing. Drawing collection inspiration from family photographs, these designs and illustrations have outlined and defined Patrick and his history. After looking through photographs of his mother, father, and grandmother, Patrick decided that he would base his collection on a climbing trip his dad made to Mont Blanc in the early 2000s. These photographs depicted a young man and his friends dressed in the typical climbing attire: boots, carabiners, helmets, and pickaxes. Despite the fact that these items of clothing are not necessarily deemed “fashionable”, Patrick’s interest arose from the attitude and outlook his father takes towards the fashion of his hobbies. “It’s kind of looking at an unexpected relationship between my dad and the clothing that he wears during these kinds of hobbies like climbing”. Central Saint Martins puts a heavy importance on creating challenging and outstanding designs, whilst making a conscious effort to look into the sustainable approaches these young designers can take. A surprising twist on McDowell’s collection comes from the direction the young designer took towards his material choices. Patrick first became interested in sustainable fashion after spending a placement year working for Burberry, noticing how much was wasted and deciding that it is his responsibility as a emerging designer to change that. Patrick’s investment towards sustainable fashion continued whilst in
his course, being exposed to numerous talks and classes on ethical production held by the Central Saint Martins fashion department. The collection features McDowell’s approach towards climbing gear, with a luxurious and elegant take on materials. One of the most discussed items from this collection would have to be the yellow silk faille climbing jacket, in which the vibrant yellow is unexpected in sustainable fashion. With a fabric like silk faille which is traditionally used to create corsets and bodices, Patrick uses the sourced material to create the majority of his collection. Silk faille can cost upwards of a hundred pounds per metre, but Patrick noticed how much fabric was being wasted from Italian mills and decided this would be the perfect place to begin. “The whole industry is filled with lots of waste. There is probably enough fabrics to make clothes for the whole world just in rolls of fabric that aren’t being used” McDowell found rolls of these materials in the incinerator rooms of these Italian mills, in which this perfectly beautiful yellow silk was not needed, which otherwise would have been burned.
“I WANT IT TO BE A SUSTAINABLE COLLECTION THAT IS STILL BEAUTIFUL, AND STILL WELL DESIGNED, AND STILL RELEVANT IN FASHION TODAY” The previews from Patrick’s collection are exciting and suspenseful, giving us an overall sense of story between Patrick and his father. The vivid yellow silk climbing jacket, inspired by Patrick’s fathers jacket is eye-catching and daring, while a pair of patchwork flared trousers of cotton gingham and light blue are decorated with carabiners and straps. His father’s old climbing goggles, helmets, boots, and harness are reused amongst the collection, complementing the luxurious and soft fabrics used to create draping 56
White cotton shirt, complete with climbing harness and navy satin leg gaiters. Photo by Patrick McDowell
“IT’S ABOUT CREATING A BEAUTIFUL WORLD OUT OF THESE AMAZING PHOTOGRAPHS”
Satin harness bra and belt, wide leg crepe trousers. Photo by Patrick McDowell
59
dress and elongated trousers. The collection consists of reclaimed silk faille, satin, cotton, and crepe in bold colours of bright yellow, deep red, and dark blues. Everything in this collection has been carefully handcrafted with extreme care and fine detail, even down to the Swarovski crystal embellished handle to his “father and son” satin and suede chalk bags.
“THE WHOLE INDUSTRY IS FILLED WITH LOTS OF WASTE. THERE IS PROBABLY ENOUGH FABRICS TO MAKE CLOTHES FOR THE WHOLE WORLD JUST IN ROLLS OF FABRIC THAT AREN’T BEING USED” This collection is luxurious and sophisticated, while offering a playful charm within each garment. Sparkling Swarovski crystals decorate the accessories of his father’s pickaxe, and handmade chalk bags, while harnesses and leg gaiters define the relationship between his father and his climbing trip. The silhouettes are fluid and elegant, with fitted belts and straps to tie the collection together. The oversized, flared legs of the patchwork trousers and extended arms of the yellow and red climbing jackets draw on reflections of a small child wearing clothing too many sizes too big. This collection merges our hobbies and how we dress for them, with the adventurous history of the designer’s roots. Patrick not only used the important relationship with his father and his history to create this collection, but sourced the materials in a sustainable and reclaimed manor. Patrick McDowell’s final degree collection is an intimate and personal approach towards luxurious and sustainable fashion. When asked what his father thinks of his collection, Patrick stated it has been really interesting, as it is the first time the two of them have ever been able to talk to each other about 60
what the designer does in his course. In return, Patrick was able to understand a lot more about his father, and feels an important connection between being able to ask his dad for guidance when it comes to figuring out what each of these items is for. “It’s been really interesting because it’s the first time we’ve ever been able to talk with each other about what I do here at Central Saint Martins and I can ask him all these questions about what these things are, like Why does it have a toggle here, and why is there a pulley there?” For a young designer, the graduate collection in university is their chance to show themselves and their work they have spent the past years working towards, a combination of the lessons learned, the skills obtained, and the outlooks on how to go about their designs. For Patrick, this collection is a defining moment for both himself as a designer and the relationship he shares with his father. By taking one look at these garments, you would not think they are made from reclaimed materials in a sustainable manner. “I don’t like it when people think ‘oh I can’t do sustainability because I don’t want to look like a hessian- covered tree basher’ or something. It doesn’t need to look like that.” The beautiful materials of yellow, navy, and red silk are used as the striking component of his final collection, yet still holding on to the ideals of luxury and fashionable designs without compromise. The use of these elegant fabrics, alongside the salvaged accessories of climbing boots, pickaxes, and pulleys from his dad’s climbing adventures show a mingling relationship between refined and dignified fashion and the personal connection towards hobbies and how these items are respected and appreciated. The beautiful silhouettes look like they could belong to a luxury fashion house, while the materials of silk, satin, suede, and Swarovski add an elegant approach to resourcing materials. The use of old climbing equipment and protective gear not only sources accessories sustainably, but relates the collection back to his father. Patrick McDowell’s final degree collection provides us with the notion that womenswear can be both luxurious and responsibly sourced.
Red silk climbing jacket, complete with navy satin gaiters. Photo by Patrick McDowell
FASHIONED FOR ALL
With an industry that claims to be working towards diversity, there is still plenty to do. In conversation with model, Samanta Bullock.
Model Samanta Bullock (Left) during Fashion Scout for London Fashion Week 63
I
t is common knowledge that the fashion industry has been criticised for its lack of diversity. Although baby steps have been taken towards a more inclusive fashion future, there is still plenty of work that needs to be done. Fashion brands and companies are using models of diverse racial backgrounds for advertisements and runways, yet still seem to fail when it comes to creating clothing inclusive for all body types and abilities. Society may hope that designers might be more open minded within their vision, yet the industry can not seem to let go of their narrow view of the body. Rather than spending time creating diversity strictly through the runway, one of the best steps fashion can take towards diversity within the industry comes from the inclusivity rather than creating a sideline for disabilities. After a bullet wound at the young age of 14 left model and influencer Samanta Bullock paraplegic, she has gone on to question and continuously fight for a more inclusive fashion. Samanta actively works to raise awareness within fashion, sports, and the opportunities provided for people with disabilities. The industry is changing and has come some ways, although there is much more progress that needs to be made.
“EVERYONE WANTS THE SAME, WE ARE NOT DIFFERENT” The industry neglects a large market of fashion enthusiasts, favoring the young, slim, and wealthy. The intersection of disability and fashion is a largely ignored topic, making an occasional appearance within the news and media. We might see a show during fashion week that features disabled models, but what happens after that? Brands go back to what they know best, and feature tall, lanky models for their next collection. The problem that designers today can not seem to grasp is that fashion needs to be recognized to the core rather than simply
within the surface of appearance. It seems that designers collections today are being tailored for the fashioned body, then worn on the catwalk by a disabled model just to tick of the diversity box. Diversity and inclusivity is featuring models in wheelchairs alongside models walking, rather than creating a seperate fashion show. It is about becoming accepting and inclusive of all people, not separating or dividing. In order to make advancements within the world of design and diversity, brands need to start viewing this clientele as a valid fashion body from the get go, by understanding that these customers are just as interested in fashion as everyone else. Samanta Bullock has spent the past years of her life working towards changing the ways we view disabilities within fashion, by challenging the ways we view inclusivity. “There seems to be a misconception that disabled people don’t mind the way they look, yes we do, we want to be beautiful and we want to be comfortable.” Designing for those with disabilities is the first step towards truly identifying where the cracks in the industry appear. The initial part of the collection process should focus on designing clothing for these individuals, in which a radical movement towards inclusivity and diversity would really begin. With that being said, it becomes a question of why are these designers not taking these factors into consideration before they even begin the collection? Fashion is a form of self expression and identity, yet the choices are extremely limited for those who are marginalised. The demand for diversity within fashion has plenty of work to be done, yet some of the biggest changes have not been actioned. Universities across the world teach fashion design programs, where students are encouraged to really think about their wearer and develop their collection towards their intended client. Student and emerging designers are the future of the fashion industry, being the ones who will pave the prospects for the fashion industry. We continue to preach for a more diverse future, but maybe we need to begin questioning how these courses
Photo: Samanta Bullock 64
“THERE SEEMS TO BE A MISCONCEPTION THAT DISABLED PEOPLE DON’T MIND THE WAY THEY LOOK. YES WE DO. WE WANT TO BE BEAUTIFUL AND WE WANT TO BE COMFORTABLE”
and classes are promoting a diverse curriculum Samanata recently came to Central Saint Martins University to speak to students and tutors during a panel discussion focusing on disability within fashion. ”Students have the power and the desire to change it all. It is time for designers to not see diversity as a challenge but rather as an opportunity to be creative and grow. The industry benefits from diversity, they make money off the different people. I strongly believe students should be taught to understand diversity as a principle and go beyond as professionals, create clothes for all types of bodies, and expand the industry in the right direction”. Students are completely open to design towards their intended audience, but fashion design courses could encourage students to think in more inclusive terms. If you look through the design studios at any fashion university, you see numerous dress forms, or “mannequins” standing tall and anonymous. These dress forms are used by student designers as a tool to aid the process of draping and garment construction. The problem with these forms supplied to students is the limited function of movement and positioning with them. There are very few people in the world that spend every hour of every day in a standing position, so why is it common to model and design our clothing off of these slim, standing figures? As a way to begin to include diversity within the ways we create fashion, it is quite apparent that supplying dress forms in a multitude of adjustable shapes and sizes would be one small, yet impacting step within fashion design. Alongside the demand for a more inclusive diversity within luxury fashion comes the questions of high-street and commercial markets. The human body comes in many sizes and abilities, posing a structural difference when it comes to mass producing fashion. Luxury and couture fashion is made up from examples of the fashioned body, the tall slim structure we are familiar with. The excuse many designers use for not creating inclusive fashion comes from the ideas that tailoring these garments would be difficult, and expensive. One of the biggest
misconception is that creating clothing for an individual with a physical disability requires very difficult and careful construction and custom shaping and fitting. While the overall shape and fitting will be different for each person, Samanta points out “No two people are the same. Please, explain to me why should we make standardised clothes? We have curves, we are in different positions, we are female or male, kids or adults, sizes… there we go. Why leave somebody out of the “party”? The industry benefits from diversity, they make money off the different people!”
“THE FASHION INDUSTRY IS REFUSING TO EMBRACE DIVERSITY AND IT’S BECAUSE THEY’RE AFRAID OF THE UNKNOWN” One of the fastest ways for brands to tap into a diverse market can come from the use of accessories and small fashion as a starting point, as they functional for most bodies. Although it is a tiny step towards a more diverse representation within fashion, high street and luxury brands create these products which can be worn or used by consumers of various backgrounds. But fashion does not end there. Samanta believes the most obvious reason for fashion’s hesitation to challenge norms comes from denial. “I believe there is denial. The fashion industry is refusing to embrace diversity and it’s because they’re afraid of the unknown.” “Fashion has the power to help people accept themselves and hence be accepted, if the designers find that sweet spot on their product they will be in a good direction to a more inclusive fashion product.” Try to imagine how many high-street clothing stores, luxury fashion houses, and well known designers are currently producing clothing. Now imagine how many of these names cater towards diversity within the clothing they sell. The fashion industry is
Louise Linderoth’s collection during Fashion Scout featured both walking and wheelchair-bound models.
66
Designer Louise Linderoth with Samanta Bullock, after her collection “Have a Seat� during Fashion Scout. Photo: Samanta Bullock
neglecting a large portion of their audience, because of their lack of inclusivity within their designs, stores, and accessibility. For someone who may be confined to a wheelchair, the option of simply going out to purchase new clothing becomes much more difficult when these retailers are not catering towards the access into the stores and the designs being sold. As a way to become more representative of all, the biggest issue we struggle with is being inclusive, rather than selective.
“THE FASHION INDUSTRY AND STUDENTS WON’T BE QUIET WAITING FOR SOMEONE TO MAKE THE CHANGE” We have come a long way in fashion by beginning to become more accepting and including of all, but there is always going to be much more we can do. While luxury fashion houses and well known designers have a lot to work on to include more diversity within fashion, we are hopeful for the future due to the emerging voices within the industry. Student and emerging designers are the ones who are here to pave the ways we view fashion for the future. It is the responsibility as pioneer designers to learn different methods and approaches towards inclusivity within fashion, which will change the path of a more diverse future. Alongside these designers pressing for change, the time for a more inclusive future is here, in which there is a lot of work we need to do. Samanta Bullock is a strong voice towards change and inclusivity, stating, “Only a small percent of the population looks like supermodels. According to what standard can we say that this defines beauty? Beauty is in the diversity. Not in one look, but in many. The fashion industry and students won’t be quiet waiting for someone to make the change. It is here, and it is happening. We can’t sit still to watch it, we must join!” 69
BEAUTIFUL WASTE Recent graduate Hannah Elisabeth Jones of the Manchester School of Art, has changed the future of fabric, creating a new approach towards sustainable material.
Casting and hand dying waste paper creates a beautiful appearance towards the material. Photo by Hannah Elisabeth Jones 70
S
ustainability has quickly become a buzzword in the world of fashion design, materials, and methods of production. Whilst our ears may be dulled to the overuse of terms like “sustainable” and “ethical”, these concepts are important. Designer Hannah Elisabeth Jones noticed the amount of paper thrown away at her university, and decided there must be a use for the waste. After experimenting with the properties that paper holds after many processes of hand dying and casting, she came upon the “happy accident” she calls BioMarble.
of creating functional textiles and materials, whilst simultaneously making students conscious of the footsteps they take toward sustainable and ethical practices. This course leads students to investigate and become aware of their specific areas of interests, while also giving the experience and opportunities to discover collaborative and specialised disciplines within textiles. Hannah Elisabeth Jones graduated from the Textiles in Practice course in the summer of 2017, and quickly discovered and defined herself through her work. After spending three years in the Manchester School of Arts learning embroidery, knitting, printing, and laser cutting, Jones combined these skills with her passion for textile and material production in which BioMarble, her sustainable paper waste material, was discovered. While Hannah is dedicated and driven in her work, this designer believes there was no way she could have planned for a result like this to happen. After accidentally stumbling upon the process in which beautiful surface patterns and textures are produced within the material, Jones believes “you make your own luck, and in this case, BioMarble is the product of hard work.” This method of production creates a material which is completely biodegradable, flexible, and fully sourced from paper waste. What makes BioMarble completely unique alongside its resourceful method of production, lies within its appearance. We are quick to assume ethical material consists of earthy tones of browns, beige, and greens, but imagine beautiful water droplets of blues, greens, burnt oranges, and bold reds. This material resembles a colourful collection of ombre craters represented within its unique surface patterns. Jones assembles BioMarble into hexagonal tessellations to create large structures of the material. Jones describes the material as “A flexible material, with a unique and intriguing surface pattern, with small craters and pitted textures.” The makeup of the material makes it ideal for creating three dimensional structures, in large sizes. “It has a good tensile strength but you can also bend and rip it like paper. It is light, so it can easily be mounted onto a wall.” BioMarble quickly became known across The
“YOU MAKE YOUR OWN LUCK, AND IN THIS CASE, BIOMARBLE IS THE PRODUCT OF HARD WORK” Fashion and material production designers have been called to task for their negative carbon footprint within the creative industry. The process of material resource usage, production, shipping, retail, and the eventual disposal of garments are a vicious chain of consumption, all in the name of design. We have studied this intricate cycle as if it were the pattern of a finely tailored suit, and when it comes down to the small detail, the industry has made plenty of steps towards a greener future. Large name retailers and brands create the backbone of today’s design production, in which these companies have the time, knowledge, and funds to work towards sustainable changes. High street brands and a handful of big named creatives have started to release ethically produced and sustainably sourced materials to reduce their carbon footprints. While these large corporations have the power to make a difference, sometimes the biggest and best ideas come from unexpected sources. The Manchester School of Art’s “Textiles in Practice” course encourages students to look into the different processes, techniques, and methods 72
A large installation made from BioMarble displayed in the Manchester School of Arts. Photo by Hannah Elisabeth Jones
“WHEN I FIRST CREATED BIOMARBLE, I KNEW THAT I HAD SOMETHING NEW AND UNUSUAL” Close up of BioMarble’s crater-like surface texture. Photo by Hannah Elisabeth Jones 75
Manchester School of Arts whilst on display for the final degree collection in 2017. The interest and demand for this material grew fast, due to its inspiring method of production, enticing appearance, and promising potential. Jones has created several commissioned projects in which this material is mounted upon walls in large scale “modular structures” facilitated by the material’s lightweight but structural properties. The interest in sustainable materials and production is one of the most important issues for young designers as universities put an emphasis on sustainable approaches towards innovative fashion and material production. Although the advancements and access we have to sustainable and resourceful technology signals a more inclusive future, we still have plenty of work to do. BioMarble’s prospective advancements promise untold and exciting possibilities for this young designer to explore. The incredible makeup of this material allows BioMarble to hold a completely diverse set of properties. While the material is still young and hasn’t had time to grow and develop, Jones is extremely eager to investigate new approaches towards this material, and she will begin studying for her Masters degree in September. With the key principles and guidelines for BioMarble established, this material will be able to open up a new range of functions towards material production and use. The possibilities with the development of BioMarble are endless, and Jones is interested in discovering new tactile ways we can use the sustainable material. In the short year of development of her material, this young designer quickly went on to grow within the world of sustainable materials. Since graduating near a whole year ago, Hannah has submerged herself into the world of sustainable material production and development. But with a new and interesting idea like BioMarble, one can only wish to investigate the material makeup further. Jones went on to file a patent for BioMarble, in which the birth and growth of this material can be dedicated towards the hours and years of hard work that went into creating the structure. Alongside this pending patent, Jones has been involved in many different projects with other
76
materials and designs across the UK. She has been a part of the London Design Festival, the Surface and Materials Show, the Surface Design Show, and she was a guest speaker for Material Matters at the Northern Design Festival. Hannah and BioMarble hit the ground running within the first initial year of discovery, and she is currently preparing for further exciting future events. Hannah will be holding a solo exhibition of BioMarble at the GK Gallery in Manchester this spring, and will be heading to Newcastle for the project ‘Future Thinkers’ by MaterialDriven for the Baltic Museum this summer. The world “sustainable” has been used often within design and production, due to the negative footsteps left behind when creating materials. While the word itself brings the opposite of a negative outlook, the word has the connotations of dull and drab colours, and natural methods of production. BioMarble completely alters the way we should start looking at sustainable approaches towards materials. The deep and dark colours of BioMarble are earthy, yet vibrant and eye catching. Jones believes that in order to be truly sustainable, we would not create anything. Advancements are made everyday, but there is still so much work that needs to be done in order to work towards a brighter, more sustainable future. For a young student like Jones, creating a new and innovative material like BioMarble is a defining and momentous event. Jones has a clear idea what she would like for her future, and the future of BioMarble, in which the dedication towards the development of the material is present. The potential for BioMarble is endless, as the demand for sustainable and functional materials grows. For a young designer like Jones, this opportunity is a once in a lifetime chance to develop the potential to change the future of sustainable material and textile production. When thinking about sustainable and innovative methods in material production, we tend to assume new materials are limited to the colour palette of wholemeal bread and river rocks. BioMarble proves that sustainable material and textiles can promise bold color and innovative surfaces whilst still taking footsteps towards a more sustainable production future. Right and following pages: BioMarble design process. Photos by Hannah Elisabeth Jones
THE TOOLS TO WORK Looking into programme facilities, are universities truly providing adequate technology for students to excel?
Sewing machine set up in the Fashion Studios at Central Saint Martins University. 80
S
tudents are encouraged to experiment, investigate, and discover new approaches towards their fashion design degrees, whether this means spending hours sewing quietly at home, or feeding off the energy of friends while working in the busy design studios provided. Ideal working conditions are a personal preference, which varies from student to student. Fashion universities provide students with technicians, tools, and machines in order to push students to produce their best work, but do any of these students feel they are held back in terms of access to resources? Alongside tuition fees, living expenses, travel and food costs, most students are under financial pressure before their classes even begin. While the days are filled with classes and coursework, some students manage to squeeze in strenuous hours of part-time retail or bar work in order to cover life costs. For those who are more financially fortunate, these worries are not an issue, freeing them to focus on university work. Juggling between part time work and a full time course can be a stressful situation for many university students. The last thing students should have to worry about is getting access to the equipment, tools, and experiences needed to create their work. Universities are expected to provide students with the right machinery, materials, and support in order for students to excel. Student budgets need to cover tuition, food, travel,, rent, and the materials required for coursework. Fabric today can be found in London for anywhere between a couple of pounds to a couple hundred pounds per metre. The luxury of being able to afford a full collection from silk and lace is not accessible for all students, which can prove to be a concern for those who feel like they have an unfair disadvantage. Student funding and finance have always been a recurring issue within universities and student life, in which courses are unable to offer students materials of such high luxury. While expensive materials do not always guarantee beautiful designs, many students need to restrict their work due to their tighter budgets. For those who do not have the choice of working from home or a private studio, 82
university-provided studios are all most students may have access to. Final year student Jacklynn Botwe from Nottingham Trent University has been using the studios at her university while creating her final degree collection. After asking a handful of final year students from fashion universities across Britain what they believe is the best part about their provided studios, the majority said the greatest part is the atmosphere. Having a comfortable and friendly atmosphere were the two key factors that make up the composition of a good workspace. Alongside a positive atmosphere, many of these final year students believe that their universities are fully equipped with the right tools and machines, while others feel their program could do a lot better with computers and printing facilities considering the amount each student pays for tuition. As a fashion design student, Jacklynn does not believe her university is lacking in any technology or sources, but believes that advancements within their technology could be a little better.
“I WOULD LOVE IT IF NEW TECHNOLOGY WAS BROUGHT INTO MY UNIVERSITY, SUCH AS 3D PRINTING – IT WOULD BE GREAT TO EXPERIMENT AND KEEP UP TO DATE WITH THE FASHION INDUSTRY AS IT’S MOVING ALONG.” In a world where students may not have the funds to privately source equipment to fulfil their design goals, universities must provide opportunities and tools to meet these requirements. Making sure the facilities and equipment are accessible and cutting edge means one less stress student designers need to worry about.
Students are provided with selected equiptment in all universities. Photo: Central Saint Martins University, Dress Form
INFO.VOICEMAGAZINE@GMAIL.COM