Degree Show Catalogue 2022 School of Design MDes Fashion & Textile Design MDes Graphics/Illustration/Photography MDes Interior Design MSc Product Design Engineering
Professor Stephen Bottomley Head of the School of Design A warm welcome to the School of Design’s Postgraduate show and this publication, one of the accompanying catalogues representing our master’s programmes within Fashion and Textiles, Interior Design, Product Design Engineering or Graphics, Illustration and Photography.
As a school we are all immensely proud of the achievements of our exceptionally talented and creative students. Collectively they have overcome the significant challenges of the Covid pandemic to attend and complete their post-graduate studies with us at the Glasgow School of Art. My sincere thanks to all our staff who have worked so hard to support them.
We are delighted that the Reid building on Renfrew Street houses a physical exhibition of the master’s degree shows across its many levels. This contemporary building, with its unique and individual architectural features, is a magnificent backdrop to the stunning work on display at the heart of this celebration open 2nd to 9th September. An online digital showcase also accompanies the physical exhibition and will provided further information and access for those unable to be with us in Scotland.
Whether on-line or in-person thank you for taking time to investigate the ideas factory that is the Glasgow School of Art’s School of Design and discover the vibrant talent who are the graduating masters of their disciplines in the class of 2022.
Our ground floor gallery space is shared across all our post graduate programmes providing a student driven, co-curated and collaborative reflective showcase. This exciting intervention will act as a taster for the individual programme shows that await above and beyond. This display will remain open a little longer than the studio-based exhibitions, affording next year’s students the opportunity to see the work of our latest graduates within this exciting multi-disciplinary format.
Introduction
“ There is nothing they cannot accomplish in the future”
I wholeheartedly congratulate each graduating student on their extraordinary achievements, for their perseverance and resilience. The way they adapted to the new conditions and the un-heard of ways of learning has been an inspiration. They have proven that there is nothing they cannot accomplish in the future. When life inevitably confronts them with challenges, I hope they will draw confidence from this very real lived experience. They’re going to be amazing.
The academic experience of the Class of 2022 has been like no other. During the pandemic, these students experienced how fragile the idea of ‘normal’ is – so much they had previously taken for granted no longer applied.
Professor Jimmy Stephen-Cran Head of Department, Fashion and Textiles MDes Fashion and Textiles
Academic staff team Prof. Jimmy Stephen-Cran Daniel Fradgley Alan Gallacher Julia Mclean-Evans Visiting staff Peter PhillipLockePatterson
I am a fashion designer with a keen interest in the way design can express an individual’s personality. All along, my design projects have described something of the inner world by expressing people’s experiences and feelings. To me, fashion is an outlet for self-expression. It’s a universal language which tells stories to help us learn more about each other. Being able to design, inspire and empower people makes me feel more alive, this is why I started my fashion journey. I also believe that fashion must become more responsive to the environment in the future. I am committed to using and promoting sustainable clothing materials and cutting methods. The starting point for this project was a comfort object that I had as a child, which has been an emotional support for many years. My aim was to integrate this nostalgic beginning with sustainable design methods. I have sculpted recycled foam to inform the shape of the garments, this material provides dramatic forms at scale and it is more easily recycled than traditional garment fillings. I cut the fabric into geometrical shapes to minimise the consumption of fabric resources and to respect the rule of zero waste cutting. The garment’s silhouette depends on the elasticity of the drawstrings and the laying of the fishbone, which allows for various shapes to be created.
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Phygital hybrids: The aim of the collection is to curate illusionism somewhere between a physical and digital manner of designing with a surrealist aesthetic. Highlighting the current shift fashion is experiencing towards digital design. These garments are glitching in and out of reality, whilst simultaneously inverting it. I then morph garments through shifting from a physical ‘convex cutting’ style of draping and digital drawing. I use glitching to change physical manifestations and create unpredictable silhouettes. I play with juxtaposition and asymmetry, using webbing on lightweight fabrics in order to pull and twist unexpectedly within the volumes of circular cutting. Finally, I use a double layering of transparent and cotton voile fabric for digitally printed ‘glitch’ imagery to enhance the aesthetic.
THE GLASGOW SCHOOL OF ART
Yuan Chen Holly Letitia Cunningham
↘
joanna9anna@163.com ↘ @nicholerty
As a Scottish designer, I work in a highly conceptual manner to push my practice into both physical and digital spheres. I am Womanswear and silhouette led but also develop sustainable textiles through organic line formations. I explore futuristic form within personal themes of surrealism and idealistic fantasy. I am dedicated to embracing digital and enable more ethical, emotionally considerate design. I am detailed and abstract in my ‘phygital’ illustration style, drape, pattern cutting and aim to explore this further by embracing technologies such as Clo3D. In my postgraduate work and as a member of ‘The Digital Fashion Group’, I have grown my traditional abilities by translating creativity and technical skills into a hybrid style of blended fashion.
↘ hlcunningham97@gmail.com ↘ @_hlc_design
I have two sides, two incompatible faces. As a designer, I want to combine things that are constantly clashing and contradicting one another. My design aesthetic is a bit boyish but doesn’t deny femininity, by combing sensuality and masculine toughness. Subcultures are a huge source of inspiration for me. As an environmentalist, I reduce waste by using sustainable design methods. Materials come from discarded garments; I use this to direct the design and to highlight features of the original items. I am also a keen fashion blogger and video maker which I use as a channel to convey my attitude and share my life.
I am a womenswear designer from Shanghai. Through my designs, I hope women of all ages will have a strong female mentality and not care about how others define them. I am passionate about working with florals and sheer fabrics to express this. I layer multiple pieces of semi-transparent fabric to produce prints with blurred imagery, because I feel that women, like flowers, all must wilt one day, but each stage has its own beauty.
MDES FASHION & TEXTILE DESIGN
↘ rachelguni112@gmail.com ↘ @racheldjy
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As Sarah Burton says, ‘women shouldn’t have to dress like men in order to make themselves strong’. Sharp tailoring and soft materials can also be paired with toughness. My project is inspired by Chinoiserie, the European imitation of Chinese customs, as well as the development of the Chinese Rococo style. My muse for the collection is an oriental princess who tours the world, enjoying dislocation, and an alter ego. I studied Baroque and Rococo garment silhouettes, as well as 17th and 18th century Chinese architecture. Through photography this initial inspiration was explored and developed into new silhouette possibilities. The patterned organza prints blurring Chinese export flowers act like a vague symbol of identity and age. The collection strikes a balance between the femininity of layered organza and masculine, voluminous silhouette shapes.
↘ dingchuwei20@163.com ↘ space.bilibili.com/28593233
Junyi ChuweiDi Ding
My project is about subcultural themes of punk and school uniforms, conjuring images of rebellious school children wearing their uniform unconventionally. School uniform is a symbol of authority and institutionalism that erases individuality. This project uses punk characteristics to change this. My aim is to reinvent the school uniform image, moving from a symbol of collectivism, to focus on one’s own style, attitude, and individual identity. All the leather pieces within this collection have been upcycled from items purchased from local charity shops.
This project focuses on the spatial connections between two people, mainly the changing relationships and interactions of partners and friends. The design development comes from the connecting of two pieces of clothing. The garments that were originally worn by two people are now connected and they come to understand the effect of each other’s movements. The holes in the new garment give different ways of wearing and thus a new silhouette, and the person wearing it can feel the other’s silhouette on the body.
↘ houdanhd2020@163.com
My major is Master of Design in Fashion and Textiles. Previously I studied fashion design and engineering in Shanghai, which focused on pattern cutting and fashion management. Moving into a design degree has presented troubles but I have preserved and really enjoyed it. My main interests include undertaking research as I can learn about history, culture, and contemporary design. This activity has broadened my horizons, practice, and critical thinking skills. I plan to continue to explore and learn from the world, with the aim of having my own fashion brand in the future.
↘ gaoran.arrietty@outlook.com
Ran Gao Dan Hou
My project inspiration came about when packing my luggage for a trip to Iceland. My least favourite part of travel is packing. Firstly, I must consider what belongings I need, and then I should decide how best to arrange them in a small suitcase. It’s a guessing game of what outfits to bring, and how many I can stuff into a limited suitcase. As garments account for a large proportion of the overall contents, I searched online to explore various ways of folding. This research led into a series of developments exploring shape, structure and pattern created by folded garments. Photography documented this ideation process, as well as the colour and texture of Icelandic houses, which was also incorporated into this collection.
I am a fashion designer from China, working mainly in pattern and silhouette exploration. I have a deep interest in the connection between people and clothes. My work this year focuses on the interaction between people, exploring their emotional and spatial relationship through the vehicle of clothing. I have spent much of my time connecting and combining garment silhouettes of multiple persons to reveal a new silhouette. The design of this collection will allow people to reflect on the true nature of human freedom, and the final presentation will be an artistic expression of a conceptual approach, giving the garments a deeper understanding.
8THE GLASGOW SCHOOL OF ART
↘ @hddddddd2960
↘ xiyo_jiang@163.com ↘ @y.jiang2
YongxinHuJiang
The inspiration for my project comes from paper-cutting, an important and unique tradition found in my home village in China. During the New Year festivities local people cut and hang paper decorations as a good wish for the year ahead. However, with the urbanisation of the village and the passing of the older generation, very few villagers do papercutting nowadays. I remember when I was young, my family and I would get together a day or two before the Chinese New Year to cut paper. Unfortunately, after my grandfather passed away, we stopped doing this. This collection evokes these memories of my grandfather and seeks to raise awareness of this tradition.
There are four general types of intimacy: secure, preoccupied, dismissing and fearful. In this project, in accordance with my own intimacy type, I analyzed the conflicting behavioral and psychological states of the fearful in social situations. Research shows that when people are in uncomfortable social situations, they need a barrier to separate them from their surroundings. Therefore, I designed a garment that transforms into various forms depending on the wearers state of mind, helping to relieve psychological stress from uncomfortable social situations.
↘ hhhuxuqin@163.com ↘ @xuqin_hu
MDES FASHION & TEXTILE DESIGN9 Xuqin
I am a fashion designer. I specialise in the development of ideas through three-dimensional garment experiments. I enjoy the randomness and unpredictability of the results which surprise me and make me want to continue. My project this year seeks to combine this area of expertise with a paper cutting tradition from my hometown in China. Cutting techniques and a variety of papers inform the structure, shape, and surface detail of the fashion collection. Through this body of work I aim to reimagine this traditional technique within a fashion context.
I have gone through different stages in my understanding of design during my former research projects. I used to go for some exaggerated work. However, I kept denying myself due to the difference with the style I prefer. In my subsequent studies, I learnt more about the concept of design, which led me to conclude what I had doubts. In my pre-study proposal, I will continue to focus on the “human needs” of design. The state of the body affects human emotions. Therefore, I put forward a point: providing emotional value to the wearer is a key point of design. In this project I devloped my research by analysing the requirement of the wearer from a social psychology perspective.
THE GLASGOW SCHOOL OF ART
I am a fashion designer working primarily within silhouette, pattern, and knitwear design. I believe that fashion design is more than just making a piece of clothing. I draw inspiration from cultural references such as movies and my own experiences to reinterpret and translate silhouette ideas. I really enjoy the experimental and developmental stages of the design process. Within the collection development I researched and trialed approaches to deconstructing clothing in line with the ‘remake’ sustainable design concept. I hope to continue to develop my understanding of this in the future. The inspiration for this project is a documentary titled Lonely Death. It refers to a Japanese phenomenon of people dying alone and remaining undiscovered for a long period of time. Through the project I reflect upon the impact of death on the body. Our clothing covers us and becomes a part of us, the seams are like bones supporting our bodies. I use these ideas to generate silhouette development that simulates our body structure. Through deconstructing and combining found garments I expose structures and generate new garment designs. I hope this collection raises awareness of the phenomenon, the lonely death.
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An ShuyueLi Li
↘ lian30ann@163.com ↘ @annlili30 I am a Chinese fashion designer working primarily within silhouette-led womenswear design. I like to work on projects that are critical, rebellious, and those which respond to my own true feelings and experiences. Conveying ideas through bold silhouettes whilst exploring the relationship between clothes and the female body are important to me. My designs are often wearable and comfortable, providing women with a sense of security. It allows women to wear clothes without being bound by them, creating a safe space to relax their bodies. This project is about my insecurities whilst trying to pursue femininity. I hate maintaining the stereotypical female image all the time and I feel insecure when dressing. I think clothes are supposed to be comfortable, offering a sense of security, but women are unfortunately often bound by clothes, such as tight crop tops, ultra-short skirts, high heels, in their pursuit of femininity. These symbols of femininity bring a lot of physical insecurity to women. There are times when my body longs for freedom and liberation. This project will explore the relationship between clothing and the female body, so that clothes can bring women a sense of security and comfort, allowing them to be safe in their world.
↘ Shuyueli0125@163.com ↘ @shu_yue_l
FASHION
The project combines historical references of Victorian era aesthetics with functional cycling apparel. Since women first started to ride bicycles their clothing has evolved from conforming corsets to performance related structures and fabrics. Through the pursuit and yearning for freedom, women’s minds and indeed their clothing has been liberated. This fashion collection is characterized by breaking the boundaries between formal dress and sportswear. Structures are developed according to human movement, with different fabrics and materials spliced together, alongwith shirring craft decoration and elastic rope adjustments. All of these enrich the clothing silhouette.
MDES & TEXTILE DESIGN
↘ leezora1217@gmail.com ↘ @zoraeyre I am a fashion designer who uses tailoring to express concepts that pay attention to the functionality and practicality of clothing. I have a keen interest in historical Victorian costumes and sportswear. During my studies I have subversively integrated dress and sportswear, extracting Victorian clothing silhouettes such as puff sleeves, with elements of modern sportswear such as zip-up jersey tops and jumpsuits. This collision of silhouettes with sports fabrics, creates an innovative collection combining retro and futuristic aesthetics.
Zhuo JiayuanLi Mao
↘ jymao202001@163.com ↘ @jiayuan_mao
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As a fashion and textiles designer, I am interested in exploring the application of unconventional materials on the body and strive to create my own fibre weaving method through experiments. Line is the balance of physics and spirit, I am obsessed with building lines in different forms to convey my thinking and understanding of these elements. Through experimentation I have combined handcraft and modern technology using laser cutting and carving technology to create a precise, innovative structure.
The inspiration for this project are historical hairstyles from different countries. Hair plays an important role in the culture of ancient African civilization. It symbolizes a person’s family, social status, spirituality, tribe, and marital status. I combine the unique hairstyles of Fulani tribe with linear art and apply it to fashion design. The line presents different arrangements in one frame, creating new three-dimensional forms using multi-media materials. I look for the fine line between fashion and art, I find it interesting to see the body as a sculpture. The designs are somewhere between clothing and installation, it’s more of a tribute to the body.
THE GLASGOW SCHOOL OF ART
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THE GLASGOW SCHOOL OF ART
Trashion- The Aesthetics of Waste. This project began by creating a broad photography series of sculptures, made from everyday household waste materials such as cardboard, foil and single use plastics, with the intention of subverting views of the objects we often thoughtlessly discard each day. Exploring how sustainability could not only inform the manufacture of my garments, but also the overall aesthetic and silhouette design, encompassing this concept of environmentalism throughout the entire design process. Through the medium of collage, I created a range of garment visualisations inspired by the waste sculptures, and this helped to cement the concept of taking materials destined for landfill, and recreating them into a visually striking, sustainably conscious collection.
Defect Form – Appreciating the Imperfect This project aims to communicate an appreciation and a curiosity for the imperfect surfaces around us. The substandard yet aesthetic perspectives of architectural surfaces impacted by the environment and society. Giving character that at times goes unnoticed. Depicting colour and understanding the theoretic of tonal combinations and showing how they can complement each other on the body. Furthermore, using hand dying techniques that research deeper into the multitude of colours that can be discovered through defined formulas and time spent in the dye lab. Consequently, I have been able to recreate textural prints that reference my initial visual interests. Along with great inspirational influences from Japanese designer Rae Kawakubo, creating large scale geometric silhouettes that have volume and form.
↘ fernmurphy2@gmail.com ↘ @_fftp__ Alice McKenzie
↘ emilyalicemckenzie@hotmail.com
↘ @emilymckenzie_fashion
Emily
I am a Glasgow based designer with specialisms in menswear fashion design. Aiming to be inclusive and adaptable, my work does not subscribe to traditional gender norms, rather I create pieces which, with minor adaptations, can be worn by anyone. My garments are investment pieces, produced without influence from trend forecasting, allowing them to remain wearable and staples of the consumers wardrobe for decades to come, reducing the urge to overconsume, and challenging the current motives of the fast-fashion industry. With a strong focus on sustainable practice, my aesthetic is influenced by inclusivity, creative pattern cutting and an environmentally considered design process.
Fern Megan Murphy
I am a Textile print/Fashion designer based in Glasgow, as a surface led fashion designer it has been my ambition to redesign my skills and focus them into a 3D context. Considering placement and scale is the drive within my projects. Creating prints using hand dyed methods and screen printing, as I enjoy very tactile creative processes that lead to the final outcome being unique to me. Being a specialist in colour design allows for the creation of comprehensive colour palletes that shape a strong mood and atmosphere amongst my collections. I feel passionate about societies breakthrough within gender association and reflect this within my work, creating gender neutral collections that also consider a responsible design viewpoint.
MDES FASHION & TEXTILE DESIGN15 I am Nathalie Nijk, a Dutch textile designer specialising in printed textiles. Having completed a degree in Illustration to pursue Printed Textiles, my illustrative approach is very characteristic of my design work. Hand drawing and painting lies are at the heart of my practice – every element is created by hand, with a keen eye for detail. I enjoy doing in-depth project research and looking beyond florals to create striking and unique printed textiles. During my Master’s education I have gained the skills necessary to transform my print designs into thoughtful fashion pieces, where print and silhouette effectively combine to communicate a Myconcept.project, ‘There’s Something In the Water’, was inspired by the incredible depths of our oceans. It seems absurd that we know more about the moon than about the depths of our own planet, yet we waste no time destroying our ocean’s ecosystems. But what is creeping there in the depths…? Researching this topic using scientific books and documentaries was fascinating. Every creature was hand painted with acrylics onto black card at A2 or A3 size, after which they were digitally placed into designs for digital fabric printing. The silhouette of my garments revolves around inclusivity and adjustability – there are many ways the garments can be worn, due to the use of reversible prints and adjustable elastic, meaning that each piece can create multiple looks.
Nathalie Nijk SHUXIAO NI grew up in Shanghai. Studying at GSA has developed a deeper understanding of her design style. Having been heavily influenced by the haute couture style of French design during her undergraduate studies, and two years of work experience, she has realised that the degree of completion of the garment is as crucial as the design concept. Therefore, her design style combines conceptualisation and the practicality of the function. She likes to combine vintage and modern elements. With an aesthetic full of self-seeking, and overlaps of Eastern and Western cultures, exploring fresh design inspirations with refined techniques and unique fabrics, she interprets her own stories from SHUXIAO perspective.
Slow Future - This project is underpinned by the values of sustainable and ethical Slow Fashion design. It it also based on my imaginations of the future, looking at dreamlike scenarios in which a post-intergalactic war setting merges with a futuristic picture of the 70s. It is an installation that can be austere and joyful simultaneously. “The future makes us worried but there is also curiosity and hope.” No matter how limited our knowledge about the Earth before, and how insufficient our awareness of the consequences of disturbing the balance is, we still have hope.
↘ nishuxiao@yeah.net ↘ @nn_xiao Shuxiao Ni
↘ nathalienijk.com ↘ nathalie.nijk@gmail.com ↘ @nathalienijkdesigns
↘ yijiaoqu0925@gmail.com
In 2015 I started my study in Fashion Design. After one year’s foundation at London College of Fashion, I chose to study Fashion Pattern Cutting at undergraduate level, based on my interest in silhouette, and in the summer of 2018, I chose to intern for a month as a designer’s assistant at a fashion brand called Senkni. During this month I combined my knowledge of pattern making and design with practice in a real company. After graduating in 2019, I returned to China and worked for a hotel uniform design company. In 2021, I started the Master of Design in Fashion and Textiles at the Glasgow School of Art. In this project, I began with some contemporary artworks on visual illusions and began to work on the translation of 3D to 2D then into fashion. In the primary research, I used experimental methods to reproduce 3D garments on flat paper. The purpose of this is to remind people of the invisible bonds to which we are enslaved. I also refined my experimental approach based on Yves Klein’s artwork Anthropometries. During the design development phase, I chose to place the details of the design inside the silhouette. As a result, a visual sense of restriction was achieved, while the sleeves were shifted forward, creating a 3D effect of ‘flattening’. ↘ 1292728057@qq.com ↘ @yida_qian During my undergraduate studies at Donghua University in China, I learnt the fundamentals of pattern making, tailoring, and sewing. Following graduation I worked within fashion illustration, developing my skills in drawing and communication. While studying at GSA I have gained a new understanding of fashion, which is not a conceptual product nor limited to paperwork, but requires a combination of logic and aesthetics. My self-directed project explores the transformation of conventional clothing into abstract garments. Despite the design concept being abstract, the practical details of the garment are carefully considered.
YijiaoQianQu
This project aims to translate emotional themes into fashion design. Most people would consider emotion as an abstract concept that cannot be seen or touched. One of the easiest ways to recognize emotions is to observe people’s facial expressions. Through time, artists have attempted to communicate abstract emotions within their works. For example, sculptures with their distorted, squeezed and bound facial expressions, and paintings with their strong, vibrant colors and splashes of brushwork. Both can be seen as forms of artistic expression that reflected moods.
Using 3D experiments I have endeavored to do the same by twisting, squeezing, and binding fabric to create designs centered on emotion.
16THE GLASGOW SCHOOL OF ART Yida
↘ hexishen@foxmail.com ↘ @riyinjiaotu China-based fashion-surface designer with a keen interest in menswear, print and modular design. My current work focuses on combining large floral prints with minimalist menswear silhouettes. I enjoy working on bold, print-driven projects which allow me to playfully explore different expressions of florals for a menswear market. My practice draws from nature, whilst capitalising on the qualities provided by state of the art digital printing. Creating floral patterns and exploring the structure of menswear was a rewarding and incredibly interesting process.
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Flowers don’t have to be brilliant and colourful; they can also be black, white or monochrome. Menswear doesn’t have to be simple and bold; it can also be rich and dark. This is a print-driven fashion design project with a pattern inspired by nature. My aim was to define this area of interest in my own way. Imaginative pencil drawings are combined to create a pattern, which is then digitally printed, and cut into a menswear silhouette. Boldy, every part of the wearer’s body is covered with the print. ↘ 1006840673@qq.com ↘ @sxiaorui
XiaoruiShenShi
Hexi
A Chinese fashion design student, aiming to promote emotional wellbeing through fashion. My current work focuses on creating a unique balance within garments - by combining hard metal work with soft fabrics. I have dedicated time to exploring materials and processes to construct mobile sculptures for the body. This was an incredibly interesting process for me. Although the nature of life is sometimes dark and dull, we can still find something to cheer us up and fight against misfortune. I want people to have a playful and fun experience when viewing my collection, even if it is only for a few seconds. My studio project is influenced by the magical wires and shapes within Alexander Calder’s mobile sculptures. I became intrigued by other artists who create self-supporting sculptures that move in response to touch and air currents. I have experimented greatly to acquire the knowledge and skills to make my own 3D dimensional sculptors for the body from a variety of materials. The finished sculptures are composed of steel wire and washable paper.
↘ yujia.shi0307@gmail.com ↘ @ur__siga
YitongShiTang
Yujia
THE GLASGOW SCHOOL OF ART
My inspiration came from a rigid two-dimensional frame that was wrapped in a three-dimensional garment. This starting point led into a series of experiments that deconstructed and transformed structures found within conventional suits and classic trench coats. These new garment designs combine the qualities of a single plane with three-dimensional form, the garments look like they are growing outwards. I adopted simple fabrics and colours, choosing to focus on innovative silhouette ideas and structures that generate a new sense of space.
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I think that this is an innovative and interesting area of fashion design to be involved in.
Growing up I loved to learn about the history of unknown stories. This passion is now a major source of inspiration, and I hope to tell these stories through my fashion designs. My interest in the romantic elements and craftsmanship of the Victorian era are the main inspiration for my designs. The corset and skirt support are used as the basis of the silhouette, with exploration of the original stories leading to further ideas. My designs combine the elegance and unique charm found within historical stories. This graduate collection is an expression of my personal interests, style and design.
↘ 58491654@qq.com ↘ @akaiiirye
I am a fashion designer, focusing on the silhouette and structure of garments. I’m particularly interested in using deconstruction to create new spaces within garments. My current work transforms 3D garments into 2D by combining existing garments with geometric shapes on different planes. I am committed to breaking the conventional silhouette and structure of garments by generating visual contrasts and new possibilities.
My graduate series is inspired by the Grimm’s fairy tale “The Piper of Hamelin”, which is quoted within anime work. In real history, the Piper represented the underprivileged in medieval society. This collection combines the story of the Piper with that of the circus members in the anime works. The silhouette is developed by hanging and pulling the costumes through the movement of the string puppets. Processes such as hand-dyeing and stitching are used to simulate historical fabrics and clothing. The collection combines elements of Victorian romanticism with silhouettes that resemble circus clowns. I hope that more people will pay attention to the disadvantaged people who are unable to speak in their repressed state of life.
Tian
I have a lot of knitting experience combining yarn with beading and am interested in different kinds of structure knitting. As a fashion designer, my works are mainly focused on the connection between women’s body curves and dynamics, to show the power of women. I think curve beauty can also show a sharp feeling at the same time, so it often has both structural and aggressive styles. To emphasize this feeling, I love to keep the structure as simple as possible, that is, less is more.
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I am a silhouette-led fashion designer with an interest in structures and details of traditional clothing from different regions. I am keen to understand the connections between a regions culture and their traditional dress. Expanding my knowledge in this area was a very interesting process for me. During this year of study, I have combined elements of Rococo style furniture, architecture, and clothing, by using simple production methods and materials. Eliminating elaborate and extravagant decoration has provided a direct approach to creating the silhouettes design I envisaged.
JiachengFenghuaWang
This project is inspired by Rococo architecture, furniture and costumes. When I first saw a picture of a broken luxury chair, I was struck by the coexistence of roughness and refinement. So I researched the sewing of some furniture and made some furniture structures using foam boards instead of wood. For the silhouette of the clothes, I did some research on Rococo architecture and clothing to extract the shapes I wanted. By using boning supports, I was able to incorporare furniture structures into the silhouette of the garment. In terms of fabric choice, I used mainly domestic fabrics, such as curtain fabric and sofa fabric, to create a rough and raw sense.
Inspired by the Mobius ring, I photographed structures in everyday life that appear like endless circles. I connected these to the human body by photographing a series of dynamic dances with ribbon props. When the fabric curls, it wraps around the body, like a Möbius ring. The shapes formed by these ribbons became the source of patterns for the silhouette experiment. I used stiff and soft fabrics within the experiments to generate the qualities of hard structure, soft draping and a twisting nature to shapes. I mainly use black and white colours to emphasise the sculptural shapes within the collection.
↘ moooooon.0626@gmail.com ↘ @moooooon.com2022
↘ wjiacheng731@gmail.com ↘ @jiacheng3925
↘ jsyuan05@foxmail.com ↘ @jingshi_yn
My theme was inspired by a sport that I have been involved in since I was a child - swimming. Swimming pools leave a lot of impressions in my memory. The one that caught my attention the most was the contact between the body and the water and what I saw in the pool. When one’s body is immersed in the water, it is visually distorted by the refraction of light and the fluctuation of the water, and the patterns on the swimming suits one wears changes as a result. I have focused my project on this phenomenon, exploring the aesthetics of the random changes that the action of water brings to objects.
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↘ Zoe19981203@163.com ↘ @zhu_xie_
JingshiXiepeilingYuan
I am a fashion designer with a focus on print and accessory design. I love to draw inspiration from my own life and aim to constantly renew my perception of myself and the world around me. I firmly believe that only real emotions and experiences can create authentic pieces and that only projects that are close to life will allow me to do this. This way I can effectively convey the mood to the audience and make them empathize with me. Therefore, when something comes along that I am not familiar with but interested in, I immediately practice and feel it.
Zhu
I come from a small city in central China and although our city is small, there are many craftspeople here and weaving is a very important part of our traditions. Elders historically use bamboo weaving to create insects and animals in various forms for entertainment and decoration, but woven structures are also regularly used for the practical function of holding things. During this year of study my aim was to honour the memories and skills of my hometown by creating wearable pieces that reimagine this craft in a contemporary way. For this project I have looked to woven structures found in animal nests and human’s buildings for inspiration. My aim was to combine and develop woven patterns and techniques into innovative structures for the body. Trial and error experimentation explored materials of different flexibility, colour, and comfort. The silhouette was led by building structures and the shape of the human form as the ribbons curved and enveloped the body. Boning provided rigidity much like the strong uprights used in the design of a building. The gradient weaving technique highlights the spaces between the garment and the body. Through this project I have developed my knowledge and expertise within abstract woven structures and identified an area of textile development that I am passionate about.
‘Secret Garden’ is a collection of printed textiles inspired by a farming game that I play in my spare time called Stardew Valley. Nowadays, people tend to grow fruits and flowers in their yards or abandon the city to experience growing crops in the country to relieve the pressures of fast-paced life. People are creating a secret space by returning to nature to cultivate the land. I have designed a series of fruit and vegetable patterns using a naive illustration method that combines the planting elements in the game with real life situations to create a ‘secret garden’. These designs bring me peace in my busy life and carries my expectation of returning to a more natural life.
MDES FASHION & TEXTILE DESIGN21 Cangyue Zhang
@aaaailsazcy
“Water has no shape, but water has sound, so water has memory.” My project is inspired by the molecular structure of water in its three different states: solid, liquid and gas. The various molecular structures have been extracted and translated using the crafts of crochet and knitting to create garment ideas. Mainly based on the large silhouette, 2cm and 5cm thick yarn is used to reflect the wrapping and hard characteristics of water, and 2 to 6mm thin yarn is also used to simulate the softness and fluidity of water. The use of black throughout the series emphasizes the turbulence and firmness of water, changing people’s conceptions of the colour of water.
I am Cangyue Zhang, a textile and fashion designer with a diverse background. I have previously achieved a bachelor’s degree in environmental design but have more recently devoted myself to a Masters in Fashion and Textiles. Different experiences have made me more adaptable and diversified in my thinking and ideas. I have never abandoned my previous experience and love to draw inspiration from it. My study in Glasgow has influenced my design thinking and methods, and I have grown as a designer. Now my design logic and ideas are more mature. Beyond my studies at the Glasgow School of Art, I will continue to develop my skills by devoting myself to textile and pattern design.
↘ zhangruixue0119@163.com ↘ @rishizhang
Ruixue Zhang
Does water itself have a memory? I never seem to have thought about it. And I’m curious how people view “water” from an artistic perspective? I am an observant person. Through my artworks, I hope to break people’s inherent impressions of the colour, shape, touch and other characteristics of water. It can be soft and fluid, or it can be hard and static. I want those who see my work to look more closely at things in life and find beauty from an unusual point of perspective.
↘ ailsazcy@163.com ↘
Inspired by Yukio Mishima’s pursuit of the timeless perfect human body in classical works of art, this collection looks to sculpture, human muscle structure, and painting, to explore classical arts depictions of the human body. The key development work for the collection is the wet body shape, the segmentation that conforms to the body’s curves, and the contouring that accentuates the figure. When creating this collection, great attention was paid to the comfort of the wearer and the use of high-quality craftsmanship and natural fabrics.
Xiaoke Zhu
↘ 18800265790.wixsite.com/guojiamin1 ↘ guojiaminofficial@gmail.com ↘ @kwok_jiamin
↘ katesltone@163.com ↘ @sitoneeee.910 I am currently studying for a Master’s in Fashion and Textiles at the Glasgow School of Art. After completing a bachelor’s degree in Fashion and Accessory Design at Donghua University, I completed two years of brand work experience in Shanghai. Collaborative projects with Nike gave me a new understanding of the fashion design industry and I decided to apply for a master’s degree to continue my exploration. When developing my master’s project, my thinking focused on how best to create my favourite designs whilst being commercial? By pursuing an answer to this question, I conducted research on the relationship between clothing, ergonomics, and sustainability.
Jiamin Guo
The inspiration for this project came from the film ‘The Grand Budapest Hotel’, which is characterised by its ubiquitous symmetrical composition and ‘macaroon’ colour palette. Symmetry is orderly and stable, it creates balance and balance creates harmony, order, and beauty. Symmetry is the thematic element of this project, and it has been incorporated throughout the design ideas. Details from 1930’s costume were developed along with this to create a collection to be worn by the Lobby Boy who stars in the film.
22THE GLASGOW SCHOOL OF ART A fashion designer from China. The production process of clothing has a lasting impact on the environment, due to the energy required and the harmful pollutants that can be generated. The use of sustainable materials has the potential to reduce the waste of resources to a large extent. I have incorporated this philosophy into my collection by using natural and durable fabrics wherever possible and by avoiding chemically processed materials. I strongly believe that sustainability is a necessity in fashion design, I will do my best to be led by this, and contribute to responsible design methods within fashion design.
MDES FASHION & TEXTILE DESIGN
In the context of mass migrations of extreme cold, this inflatable gear is seen as a cold suit and ‘community’ for ground and water. Confrontation with extreme experience leads to desubjectivation, and I try to construct a posthumanism position. The Inuit igloo culture inspired me to think about more horizontal social structures through wearables.
↘ 745706970.wixsite.com/11mmw ↘ 745706970@qq.com ↘ @MMW11
A decentralized and fluid network of relationships between human creature and nature, regulating each other’s interdependence, is formed as a new way of sustainability. Referencing local lifestyles and traditional clothing, such as kayak and gut parkas, which is presented digitally and made of degradable materials, sampled fish skin, birch bark and casings.
Junxin Pu (Boyu Wang)
I often find that in the early stages of a brief, I look to formal male dress codes for the subject of my research. In particular, I have discovered a deep-rooted interest in traditional Chinese garments, which can be seen in my previous approaches to design. Through my studies I aim to expand this area of expertise to create a collection that combines traditional Chinese menswear pattern making with western approaches to suit making.
In recent years, sustainable design is increasingly being realized. However, such as the use of biomaterials in the apparel industry, the IPCC report shows that it does not slow global warming. Therefore, it is necessary to think systematically about the relationship between clothing, the environment and people.
Mianmian Wu
Hikes in the Arctic Circle made me pay more attention to the relationship and interaction between organisms and the environment. I feel like a local that I am connected to the land and creatures beneath my feet, as if everything around me is tightly connected in a vast ecosystem. This rethinking helped me approach the planet with more humility and inspired me to think about my responsibility for life and climate change.
23 Junxin Pu (Boyu Wang), graduated from Lu Xun Academy of Fine Arts in China. During her current studies on the Master of Design in Fashion and Textiles at the Glasgow School of Art she specialises in menswear. Researching and combining historical and contemporary menswear references into garment designs is key a characteristic of her design aesthetic. I enjoy playing with interesting and innovative silhouettes through three-dimensional experiments. The pursuit of simple silhouettes with maximum possibilities for pattern is my design philosophy.
↘ Wangboyu980208@163.com ↘ @puu_w
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Headline is Triptych by The Pyte Foundry. Printed by The Newspaper Club on 55gsm improved newsprint.
The School of Design would like to acknowledge the contributions of postgraduate Core Research Methods and Elective course staff, the administration team, and GSA’s technical support staff who have all helped enrich the graduating students experience.
Cover image: Yongxin Jiang Studio Photography: Alan McAteer Staff Portrait photography: Shannon Tofts Design: Kat Loudon and Phoebe Willison
www.gsapostgradshowcase.net
