Textile Design Catalogue 2023

Degree Show Catalogue

GLASGOW SCHOOL OF ART SCHOOL OF DESIGN

Introduction from Professor Stephen Bottomley, Head of the School of Design

Welcome to the 2023 School of Design Degree Show at the Glasgow School of Art.

In your hands is one of a dozen graduating catalogues that have been lovingly assembled for each of our exhibiting programmes in the School of Design for their shows this year. Within these sheets you will discover the exciting work of our graduating students in image and text, alongside reflective snap shots that capture the energy, and concentration within our studios in the run up to this exhibition.

We believe making a physical catalogue to accompany our excellent digital on-line showcases is both important and relevant. Research has revealed what we intuitively knew, that making, and art is good for our mental health and can positively improve the quality of life by alleviating symptoms of anxiety, depression, loneliness and even dementia. In our busy lives, we all spend an increasing amount of time in digital environments, yet we remain alert to the important of reinforcing a balance between the virtual and the real in our teaching and specialist practices.

In the 1850s the Glasgow Government School of Design changed its name to The Glasgow School of Art, while in the same time John Ruskin, the most influential critic of the Victorian era, spoke of an education where the ‘hand, the head and the heart’ were interconnected. As you will witness, those values are still very much alive and true today.

We hope that this guide accompanies you on your journey be it at our Glasgow degree show, or at later events in London and that the work reflects the passion and attention of our students, as well as the care of the staff who have guided them.

To all our graduating students on behalf of all the staff, academic, administrative and support, we wish you every success in this, the exciting start of your careers. Please continue to stay in touch with us, remembering us in your hearts and minds, as we will you.

Professor Stephen Bottomley

MPhil RCA, MA Design, BA Hons Head of the School of Design

Design History and Theory

Nicholas Oddy Head of Department of Design History and Theory

Textile Design

Dr Helena Britt Programme Leader

As part of their degree, all BA Hons School of Design students submit a substantial piece of written work to the Department of Design History and Theory (DH&T) and a synopsis of every one is included in these pages. Students may opt for either a shorter (5,000 word) or longer (10,000 word) submission, the latter being a third of their overall degree submissions. In addition to the two lengths, there are three different modes of submission; essay/dissertation; critical journal (exploring the author’s studio practice in a larger critical and cultural context); or curatorial rationale (an in-depth proposal for an exhibition with its subject and venue the choice of the author). All DH&T staff are involved in the supervision of Honours submissions, which is on a one-to-one basis, and it is always a pleasure to guide what is always a wide range of fascinating and challenging projects.

DH&T is independent of studio, with its own external examiner, and upholds a principle of free subject choice. Therefore, while some write on topics directly concerned with their studio practice, others explore topics that seem to have no bearing on it, often personal interests or socio-cultural issues. This does not mean they are unconnected with studio, however, as the creative process is one of thought and all these submissions are deeply thoughtful, often informing practice in intangible, but significant ways.

Finally, congratulations to everyone who has submitted this year. On behalf of all in the Department, good luck in whatever the future holds.

We are exceptionally pleased to celebrate the work of the Textile Design graduating students from The Glasgow School of Art. This catalogue represents the individuality and diversity of the student’s skills and abilities and marks the end of an exciting and challenging learning journey. Their work explores diverse themes, ideas, processes and practices towards individual interests and creative aspirations. Skills have been developed through one of four textile specialisms – Weave, Knit, Embroidery and Print. Studio and workshop learning encompasses making by hand and traditional processes alongside digital exploration and innovation. Contextual, historical and theoretical study broadens perspectives related to textiles and wider knowledge domains. Sustainable and responsible design practices continue to evolve and inform perspectives and outcomes.

After Degree Show, we go to New Designers in London, an important launchpad for graduates to connect with industry. Participation is only possible because of the support of sponsors, particularly the Incorporation of Weavers and Begg X Co. Thank you also to the Incorporation of Bonnetmakers and Dyers, Adagio and Tunnocks. The graduating students and staff are incredibly grateful for your support.

Congratulations to the BA (Hons) Textile Design Class of 2023.

We wish you all the very best for the future.

Shetland Stories is a celebration of memories my family share of times spent together on the island, days beach combing, fishing trips, mornings at the Lubba, meals enjoyed together and adventures into Grandad’s time capsule workshop. Categorised within settings of Sea, Beach and Home, capture and materialise these vibrant memories through extensive and immersive use of colour and materials in a series of knitted outcomes. Primary research looks to family photographs, archives from generations, research gathered on recent visits, tales told through conversations and collections of physical objects, either passed down or gathered together. Material selection is considered carefully and analysed on its ability to convey the richness in our eclectic stories, yarns with differing weights, fibres and finishings do this successfully. All yarns utilised are deadstock and donated yarns, each chosen through a thorough colour selection process, highlighting my most competent skill. The inclusion of cords challenges colour ratios and distribution within the samples and helps to deepen the final fabric’s relationship to imagery from primary research. This project in it’s three parts is a love letter to Shetland, to those spend time with there, to the places we visit, the activities we enjoy and memories we create that carry with me everyday.

This collection explores open structure, fluid form and dimensionality through consideration of materiality. The resulting combinations creates a collection that encapsulates tactility and richness, designed and visualised for the body. Inspired by an array of eclectic interior and exterior details, motifs and structural elements; the body of gathered research prompts a curiosity for modularity and repetition, in the connecting and intertwining of materials through manipulation, layering and overlapping. This collection composes a varied material palette from leather offcuts, to repurposed webbing and metal finishes, whereby material selection and quality informs colour choice. The Additional Portfolio Project, inspired by the same body of research, explores installation pieces and finishings for interiors, decidedly architecturally inspired. Working with laser-cut processes, these pieces explore material choice through wooden and acrylic base materials. Each piece is meticulously yet responsibly created, through the sourcing of off-cut, gathered and alternative materials, with each piece laboriously composed and hand- finished. In DH&T, the Extended Essay allowed me to explore Museum studies; Decolonising the Museum: The Issues of Decolonising the Museum in Observation of Museum and Curator Responses to Post-Colonial Ideology and Cultural Restitution. This essay begins to tackle the decolonising of Western museums, in a markedly British context.

My textile design practice is motivated and informed by my Slavic cultural background. My work is grounded in the interwoven histories of rural material culture and postcolonialism in a Central and Eastern European context. Focusing on rural textiles, floral motifs in these regions have often served as ‘national symbolic guards’. While motifs and colours are apolitical, their context and placement can signify a political meaning. This has been in service of constructing what is considered ‘pure’ culture - the result of political motivations, the antithesis of what culture and tradition are in real life. These concepts, which are personally important, are at the core of my textile design practice. With the use of the jacquard loom, I am able to construct an imaginary space consisting of personal ornaments and motifs and bold and gradient uses of colour. In my practice explore the relationship between organic and geometric shapes. Merging invented motifs with explorations of colour and colour gradation serves as a visual metaphor for the flux of movement and migration, and an outlet for my personal narrative as a migrant. I have gathered visual information through wandering, catching and recording glimpses of nature in urban centres, then incorporating them within a new reality utilizing digital and analogue ways of working.

My final year collection explores a repetitive theme that captures the visual interests of architectural repeats and patterns which has been reimagined through an array of tactile textiles. A visual metaphor that gives an insight into the mind of repetitive routine and nature - common in individuals with additional needs. I have created an interior textile collection that highlights sensory issues and focuses on comfort and relaxation, all whilst being interactive and playful for all ages. With colour being an important factor throughout my final year project, tones of colours were carefully selected depending on behaviours – blends of soft and pastel tones were most effective. Sublimation printing was used to convey these blends of colour to which is proven to calm individuals. These can be seen used on a variety of mediums within my established collection. With a three-dimensional approach to embroidery, the methods of technical development range from transparent acrylic shapes and the technique of trapunto - ultimately creating the effect of layering and dimension within my final samples. As sound is implemented within my final collection, this encourages relaxation and comfort when used, touched, or listened to. The acrylic embellishment creates a pleasing and relaxing sound that contributes to positive behaviours in individuals with additional needs.

Amy Robertson

Amy Skinner

Anita Sarkezi

Brook Nelson

Capturing the delicacies of florals found within the city, my collection takes inspiration from the hidden pockets of vibrant blossoms seen within the urban environment. The soft shapes and intricate details of flowers are emphasised against the surfaces of buildings, creating an interesting juxtaposition of natural and man-made elements. The fragility of florals is reflected throughout the collection, which highlights the soft textures and complex forms. By taking a hand painted design approach, my textiles capture this softness through textural brush marks, conveying a sense of life and movement and giving each textile a sense of depth and character. Combining patterned florals with coloured stripes reflect the environment of which these elements were found. By incorporating these elements together, I have created a vibrant range of printed textiles which celebrates the beauty of the natural world, even if found in the midst of the city. Another interest I explored in my final year was the subject of clothing identity. My extended essay discusses the meaning of clothing identity and how this relates to the issues surrounding sustainability. The essay discusses the complexities of our relationship with garments and how this impacts the way we treat them. Investigating the possibilities of preserving the life and meaning of clothing inspired me and is something will continue to research in future.

Joy through colour and pattern, my collection explores my family photo album focusing upon the textures, patterns and shapes candidly found and brought together through collage. Researching through old family photos uncovered a bright and vibrant personal family history, the process of abstraction was something I used to break down these images distilling them into colour palettes and paper collages. My interest in creating joyful and bubbly design reflect the innocent and playful nature of the images taken from my childhood.The curved lines, stripes and squiggles jump around my designs being accentuated by surface textures created from cords, ribbons and threads. My collection brings about a youthful and light energy, the context of which is fashion and accessories. Using soft and spongy fabrics compliments the bright and vivid curved shapes and wiggles. My style of loose sketchy drawing is pulled through the project, using digital drawing to create patterns allowed for imperfectly perfect swirls and lines, filled with character and personality of their own. My collection aims to spark joy with the wearer, something which takes you back to childhood, filled with carefree doodles, lines, squiggles and sunny colours. My critical journal ‘Materials of memory’ explored the emotional and sensory response to my personal photo album and how this can be used as a tool for positive mental wellbeing.

I am a Glasgow-based designer specialising in embroidery. This collection explores my personal need for escapism by looking at the distortion of nature. My collection encapsulates my love of the natural world and the importance it holds to me for my mental well-being. The use of layering has become inherent in my practice through cutwork and collaging in many different forms. My collection explores many textures and shapes to replicate nature’s naturalistic forms in subtle but contrasting ways using a mainly monotone colour palette to create otherworldly setups. Materials play a huge role in creating my work, delicate digital designs are contrasted with the harshness of the hand-cut leather thus creating three-dimensionality through the layering of cutwork explorations. With sustainability and responsible practice in mind, I have used completely upcycled leather and explored the use of natural base fabrics or offcuts throughout. My collection explores one-of-a-kind pieces intended for the home by bringing the outside in with interior and sculptural textiles to relieve the unpleasant realities of the outside world. In my critical journal, I explore the development of my work as a textile designer alongside the artists who have influenced my practice through their drawings, way of working, and techniques.

Georgia Rapson De Pauley

We are surrounded by solid materials that make up our environment, covered by soft textiles that envelop our bodies. Focusing on material contrast, my work brings together two opposing materials: stone and silk. This project explores the contradiction that forms the base of my designs, with rough textured stone juxtaposed with lightweight silk. The relationship between the lightness of the material and the contrasting properties of the subject creates an airy object with bold imagery. The multipurpose quality of the silk scarf means that the designs can be hung on a wall to be seen as a whole or it can adorn the body where only fragments of the image are displayed. As well as stone, hints of bronze, copper and wood have also influenced the colour and texture of the design. The scarves are abstract and expressive and hold multiple contrasts, at once fragile and robust, yet soft whilst appearing rough. My dissertation focused on minimalist sculptor Richard Serra, whose large, dominating steel sheets hold the same contrasts that my own work seeks to explore. Researching Serra alongside my studio work inspired my interest in bringing opposing qualities together.

Emily Garrett

Emma Hughes

Gemma

Helen Kerr

The forms and folklore of hag stones have been moulded by nature and time. Their sculptural qualities and mythology have inspired this collection. Keenly motivated by sustainability and ethical production, responsible design is at the centre of my work. have carefully considered my use of materials, investigating circularity, provenance, transparency, and impact on people, animals, and planet. have also given much thought to developing textiles that outlast trend cycles. How do we combat our culture of overproduction and disposability? Tactile, hand-crafted textiles with a story behind them have the ability to provoke sensory responses and inspire curiosity – reactions that can develop into more emotional and durable connections. The loom is where my work comes to life. I have experimented with various woven structures, combining them with rustdyed and responsibly-sourced yarns, and explored washing and finishing techniques that transform the textiles from flat, loom-state fabrics to ones with interesting surface textures and form. Dobby cloths feature gradient warps and exaggerated honeycombs that evoke the sculptural nature of the hag stones. Jacquard pieces play with contrasts of textures: fluffy mohairs sit next to shiny silks; high-twist and stretchy yarns create cloth with tactile, three-dimensional surfaces.

A fascination with the aquatic and organic is the way I creatively explore within textile design. This year using my own experimental and investigative methods, I explore states from solid to gaseous through different materials such as dye stuffs, natural fibres and salt water. I come from the West Coast of Scotland where in my developing years I spent the majority of my free time in the out doors where would explore nature and the coastline, the natural environment has always been the strongest source of my inspiration. Through the method of using space-dyeing, I have been attempting to generate random pattern with the intent that I cannot fully control the visual outcome, to showcase the beauty of the organic and how nature spontaneously arranges itself. Inspired by Bernat Klein’s signature use of colour, felt space-dyeing was a technique that allowed me to simultaneously mix colour whilst experimenting with structure and pattern. Merging the traditional with the contemporary use a combination of digitally enhanced images and traditional natural dyeing methods. My extended critical journal investigated the environmental impacts with both natural and synthetic dyes, within my practice the goal of the year was to gain a greater practical understanding off natural dyeing, to create more sustainable methods for environmentally conscious textiles.

The inspiration for my graduation design project comes from scenes formed by objects in everyday life that are often overlooked. These things have a sculptural quality that catches my attention. I used silicone as a new textile material for my project, which can be easily shaped into any desired form to trace the texture. After calculating the measurements to make silicone into specific shapes, I obtained the patterns and created some drawings. The use of embroidery threads as warp threads combine well with the silicone weft and provide vibrant colours. This is also a tactile textile project due to the wonderful tactile sensation provided by my self-made silicone weft shapes. CJ: Materials in the field of textile design are being innovated by contemporary textile designers in their quest for novelty, as traditional materials can no longer satisfy their emotional expression. My critical journal starts from the innovation of materials in textile design to understand how modern and contemporary textile designers innovate and how this relates to my practice as a textile designer who is obsessed with tactile experience. And how I have communicated non-traditional textile materials and weave structures in my own way while learning from the experience of previous designers and artists.

My project challenges the process of weaving through form grounded by sustainable practice in terms of materiality. Through collecting, analysing and shredding donated garments to be reworked into woven fabric my design practice questions structural elements of the weaving process and pushes my samples into a more sculptural fashion accessory context. Inspired by sculptural practitioners, Franz West and Louise Nevelson my primary research explores form through performance art and found object sculpture. Translating the colour, shape and texture from drawings to my woven samples is a process happening off loom in my practice. With explorations of shredded garments in both the warp and weft the construction of my fabric fuels material exploration as can investigate the relationship of different fibre qualities. Fundamental aspects of my project include zero waste, zero cost practices and through research into Basahan weaving originating in the Philippines and efficient methods of shredding to produce the minimal amount of waste possible my design practice has truly adapted around these ideals. Discussing the challenges brought upon my studio practice regarding primary research and colour development in relation to the materials am using, my project discusses how awareness of materials from a sustainable point of view can challenge and push design ideals to produce stronger and more critically thought work.

Helen Etherton Isla Catherine Cannon Fowler

Jiachen Li

Jonathon Sinclair

“Yet often the mountain gives itself most completely when have no destination but have gone out merely to be with the mountain as one visits a friend with no intention but to be” Nan Shepherd, The Living Mountain

The Scottish landscape can be breathtakingly beautiful at times whilst shockingly harsh at others, to have “no intention but to be” in these environments you must be clothed in fabrics that allow for the beauty of the surroundings to be fully appreciated. My final year project focusses on creating knitted textiles for an outdoor layering system of garments to protect, perform and harmonise in and with the landscapes that inspire them. To capture the diversity of structures found in geological formations, was intrigued by the variety of scale in the mountains and rock types, from the majestic granite torrs to the lichens found on their surfaces. Densely felted lambswool provides a weatherproof outer layer, whilst dynamic fleece insulated forms mimic rocky outcrops trapping air within the mid layer so underneath small gauge merino textures can provide warmth and breathability against the skin as the base. wanted my fabrics to be memories of my times spent in the hills, representing all my surroundings, the colours, textures and surfaces. Two coloured digitally knitted jacquard pieces compliment the structural and irregular geological forms, with a more literal, compositional representations of my drawings and primary images.

My project is an exploration and celebration of lesbian memorabilia, mostly from the Glasgow Womens Library Lesbian Archives. Taking initial inspiration from the 1980s Rebel Dykes and imagery from the Greenham Common womens peace camp, I became fascinated by symbolism and the idea of ‘wearing’ your sexuality. The message attached to textiles is very important to me. Throughout this project I wanted my work to say something and tell a story. Banners have long been associated with protests and Trade Unions, the ones I have designed are made to tie together their traditional purpose of highlighting solidarity and unity alongside my own more contemporary messages. My use of intricate beadwork and hand embroidery is significant as it adds a personal element to my samples, almost like my handwriting alongside whichever story am telling. My additional portfolio project has given my work a different context and has zoned in on the idea of ‘wearing’ your sexuality. The scout uniform was born from the Lesbian archives as I found it to be a running theme in magazine illustrations. Responsible design has been considered in a political sense as well as a material sense. All hankies and ties are second hand, as are all fabrics used. have pieced scrap fabrics together and patchworked in order to recycle remnants. I see my samples as art pieces with a purpose to educate and challenge conformity.

This graduate collection of textiles has been created for a unisex fashion context using experimental printing techniques in combination with more traditional approaches. Featuring combinations of bespoke fabrics and ready to wear prints, the collection includes textured materials with threedimensional qualities, placement and patterned designs, which can be combined and layered for garments and accessories. With a focus on colour and texture, this collection is inspired by the deteriorating sections of cityscapes explored through mark making, textural painting, collage, colour exploration, material manipulation and digital imagery. Paintings, textures and graphic marks have been translated through exploratory print and dye processes and digital design. This collection uses combinations of screen and hand printing with reactive and disperse dyes, pigments, sublimation and direct digital printing onto silks, cottons and synthetic bases. Colour explores subtle shades and contrasting palettes, selfcoloured and monochromatic elements, resulting in a collection with subtle tones combined with complimentary hints of vibrancy. Fabrics with threedimensional qualities are fully dissolvable, developed to reduce textile waste, these environmentally conscious single-use materials leave no trace of their existence after use. In addition to my studio work, wrote an extended essay entitled ‘A Discussion of Authentic Live Performance’, to pursue a personal interest.

This collection takes inspiration from a combined interest in the new era of 3D printed design, the nature that often inspires it and a fascination with material. The project looks at creating pieces that will enhance an interiors space by introducing unique, biomorphic elements created through fusing the practices of bamboo steam-bending and knitting. My focus on undulating curves and shapes comes from my collection of imagery studying naturally occurring forms. Examining and drawing from these structures informed and inspired my decisions on shape and texture as I explored techniques to translate organic qualities into fabric. Integrating curved bamboo elements within my knit structures has allowed me to broaden my exploration of three-dimensional knitted forms. have created a collection where both the knitted and bamboo elements work in harmony with each other to enhance and elevate their design features. By pushing the boundaries of what is expected from knitted textiles, it allows me to encourage people to question their perceptions around the knit practice. Through use of varying scale and form, parts of my collection are flexible in their context, while some pieces have been designed for lighting purposes. Considering responsible design, have knitted entirely from dead-stock yarns and limited the use of synthetic fibres to small amounts of elastic.

Kirsty Campbell Lydia Budler Lyndsay Iona Wilson Maia Smyth

My graduate collections ‘Ways of Seeing’ is inspired by organic forms and exterior environments. My work exudes a bright energy which is bold, uplifting, and joyful influenced by the variety of colours see in nature. My process of abstraction transforms appearances, combining different components and aspects of what I see while purposely seeking out unusual shapes which can be manipulated to resemble barely recognisable versions of their original forms. These characteristics enable me to produce vibrant collections of designed substrates such as ceramic tiles, wallpapers, cork, and various fabrics both natural and manmade. have achieved these outcomes through screen printing, dye sublimation, digital and thermal cutting, translating my work into original and visually stimulating surface designs for interiors and fashion. Other projects within my portfolio include graphic and pattern-based designs for the Aparthotel group Adagio and monochromatic designs for fashion. Perceptions of Denys Lasdun’s Brutalist Architecture - comparing and contrasting the National Theatre London, The Royal College of Physicians London and Keeling House, Bethnal Green London. With reference to these specific sites, my essay explores how a residential building impacted its occupants in an area of deprivation; investigates descriptions of architectural design as modernist rather than Brutalist and looks at the tumultuous birth of a specific building from inception to construction and reception.

My Graduate project focuses on collections of objects. My research has been driven by found assorted objects and textiles from markets, charity shops, archive collections and museum artifacts. Whether they are precious or mundane they have been curated or naturally formed in their environment. These collections express the varied and random nature of human tastes, histories and lives. Even objects that have been lost or donated by others, which can appear mundane, hold personal significance to owners, and their connection to these objects can tell stories of their lives. I have created a personal archive of objects I have connected with, Looking at the texture, pattern, and colour they possess. I have deconstructed them to reimagine them in my own handwriting. My main collection focuses on print design for fashion. By using intuitive mark making and collage I layer up a variety of mediums including watercolour acrylic, inks, oil pastels and graphite to explore pattern and shape that I have found within the eclectic mix of objects in my research. Zero-waste paper cuttings in my collages form a key part of my drawing process. The negative spaces that form from these purposefully cut shapes are translated into my printing process, where I intentionally focus on limiting the waste of dyes and materials. My use of found fabrics not only comes from this interest in sustainability but also draws again on my interest in layers of human life found in their objects.

My practice throughout my final year focuses on responsible design through material reuse and exploration as a focal point of my work. I consider materials that have interesting textures, surfaces, forms, colour, and graphic elements and how these can be manipulated and has resulted in experimental drawing and colour work that has a variety of detailed and simplified pieces. The intention of my work is to avoid generating any further waste through repurposing materials that would otherwise be overlooked and discarded. For my printed textiles I primarily use sublimation digital printing to translate graphic elements textural design. Sublimation digital printing is an environmentally conscious way of printing with no water waste and uses synthetic fabrics which allows me to textile bases that could be made from recycled plastics and therefore furthering this idea of reuse of waste material. Additionally for sampling I combine layers of digital print with bonding printed and recycled surfaces to fabric, in order to create interesting tactile qualities and changes in texture. I believe my samples are best suited to fashion fabrics, gender fluid fashion and identities has been a prominent aspect of my practice when making work for several years now and I aim to make my designs inclusively gender neutral and unbiased to one specific identity.

Rachel Sophia Maclellan

I begun my project by drawing inspiration from geometric and biomorphic design, taking into consideration the similarities and differences that are prominent within the two. Throughout sampling, I analysed a high and low butt alteration technique and have experimented with a plethora of yarns such as cotton, elastic, viscose, cash-wool and silks. Each yarn combination changes the sample outcome in a unique way. Using different combinations of yarn in conjunction with intricate structures has enabled me to enhance or alter 3D form within my samples. With health and well being increasing and more people seeking comfort and balance. I created a colour palette that reflects calmness by using specifically curated and researched colours. I have been designing for conceptual shoe innovation, experimenting with the scale of fabric and changing the overall design through various stretch properties, hope to inspire the progression of knitted shoe design in a playful and experimental manner. My complementary project encompasses the development of material exploration. Investigating the properties of thermo-formable yarn in order to create interesting surface textures. By drawing inspiration from my original primary images, created elements of a non-stretch fabric within knitting. Utilising this material to suggest the design of soles, creating a shoe completely constructed through knitting techniques and smart material choice.

Marie Jennings

Niamh Clement Rachel Lamond Thomson

Victoria Hughes

Specialising in woven fabric, I am widely inspired by my surroundings and the geometric shapes often found in city architecture. Using this as a starting point my graduate collection has stemmed from a cut-andpaste workshop I took part in during my first semester of fourth year. This workshop encouraged me to come out of my digital drawing comfort bubble and to limit the time taken to create each collage. This allowed me to step back from the ‘perfection’ of CAD that can often hold me back. I have continued the theme of cut-and-paste from this workshop throughout my final year by cutting up my drawings and pasting them back together in different ways to create repeat patterns which have then translated into jacquard fabrics. As a designer, take great joy in bold colours and exciting patterns, so have created this project with the intended use of fabric for public transport and have visualised my designs as bus, train, and plane seating. A second area of interest for me is the football apparel industry which I have written about for my DHT module. In my essay, I have explored the environmental, economic, and social impacts of football kit design.

Cover image: Victoria Hughes

Studio photography: Shannon Tofts

Design: Kat Loudon and Phoebe Willison

Headline typeface: Rules by Freddie Guthrie

Printed by The Newspaper Club on 55gsm improved newsprint.

All work shown remains the property of the designers and may not be reproduced in print or any other media without written permissions. Contact details for all work is provided on each page for any enquiries.