Final Major Project Review

REVIEW OF FINAL MAJOR PROJECT (FMP)


Student Name: Maximilian Raynor Pathway: Fashion and Textiles 

Final Major Project Title: ‘Hang ‘em up to Bleed’- A project on Veganism 

1. Briefly describe the final outcome of your project and the progress you have made, and if applicable how it differs from your original Project Proposal:

My final outcome is in the form of four separate pieces, two sleeves and two dresses (one dress styled as a third sleeve), shot and styled in contrasting ways, on both a female and male model. I have progressed from intending to heavily focus on fact delivery/ slogans to a far less literal final outcome. The references in the pieces are subtle translations of my primary and secondary research and the development conducted from it. I had proposed to make a collection but decided not to spread myself to thinly.

2. What methods have you used to show how your learning has effected your project e.g. FMP Blog/ FMP Plan/ sketchbooks etc., and how has this helped with development of your work:

By documenting my learning process in a blog, I have been able to better evaluate and reflect on my work at each stage. This constant self-evaluation, whereby I actually have to put my thoughts and decision-making process into words, has helped develop my work profoundly, in that everything I do must have a reason/rational behind it. This consequently means each idea is well considered and grounded in my research. The use of a sketchbook is primarily an invaluable presentation device, yet it too acts in the same way as a blog. The blog ensures a translation of ideas to writing, whilst the sketchbook ensures the consistent translation of ideas to the visual. This visualisation process becomes the project in itself and where the majority of my creative decisions materialise. By having a plan I was able to develop my work at a steady and aforethought manner, rather than approaching it at point blank. The plan gave structure to my project and was referred back to at the end of each week. Without this structure I do not believe my project would have developed the way it did.

3. List the targets met (from the original FMP Plan and any that were added later):

I intended to “explore ‘Veganism’ via firm concentration on the negative impact of the livestock industry producing meat and dairy and the ethics behind our treatment of the animals we use for food”. I have met this target with all my extensive research into the industry and the translation of that research into textile samples, silhouettes, colour palettes etc. I have achieved my target of encouraging “debate through my work” as many peers and tutors have engaged in the subject matter presented, some even re-evaluating their consumer decisions. I met my target to use more textile and sampling processes, as my project contains interesting, tactile ideas throughout. I met my target to find modern alternatives to leathers and suede, namely with my discovery of the 100% recycled microfiber alternative to suede “Ultra suede”. The material is expensive but both ethical and sustainable. My desire to be confrontational too with my project has been effective- many have been shocked and disturbed by my research and development. I hope this shock invokes more of a conscience in those that see the project and that this informs their consumer decisions. I was “adamant” my project would not “fall into the aesthetic of recycled trash” and this target has been met too. The project outcome is expensive looking and sexy not neutral and drab.

4. Reflecting on your overall final major project, please discuss any developments which have contributed to the final outcome:

I firmly believe every single sketch, drawing, stand exploration and so on informs the final outcome. Not one piece of research is pointless, as that which is discarded, has still influenced the edit of material. This edit pushes me towards discovering what it is I am inspired by and want to use. That said, there are inevitably certain developments that contribute more obviously. Key developments include my work with calico on the stand, pleating, stuffing, pinching, tucking, draping and darting. The silhouette and design details explored during this process were highly informative, namely the voluminous, pleated sleeve exploration, that translated directly into my final look. This exploration was derived then from another piece of key development- my primary research photography. Inspired by Alex Van Gelder’s ‘Meat Portraiture” I photographed my own series, later named ‘Meat in a Plastic Bag’. The pictures of squashed meat in shiny plastic informed my stand work in terms of silhouette, as well as textile and fabrication decisions when sourcing latex and PVC, to mirror the texture of the plastic bag. A third piece of key development was my secondary artist research and the paper stand work developed from it. Paintings by Lovis Corinth and Chaim Soutine inspired my interest in the shapes and structures of the animal carcass. The bony, lumpy, contorted imagery inspired me to develop creased, structured silhouettes on the stand. This work later informed my decision to use paper stuffing in the final sleeve, as well as to use liquid latex texture on the neck, which mirrored textures seen in the Corinth art. My colour developments all came directly from my research. One specific combination of surgical turquoise with deep blood red was developed from secondary, exposé/ docu-film research. This colour development is bold and jarring and was translated directly into my final latex dress (shot as a menswear sleeve).

5. Please state what advice you received from others during your FMP, and discuss what you found particularly useful: you should refer to group reviews, one-to-one tutorials and feedback from evaluation groups

Group reviews and tutorials have been highly advantageous to my final outcome. Without the advice of peers and my primary tutor Sarah Thomas, I would not have developed the way that I have. Through the constructive criticism and hyper attention to detail of Sarah, I have tapped into a realm of design potential, previously unmet in my creative education. I have been encouraged to be exhaustive in my approach. A solid example of this thorough application is in my stand work. I had become content with a small range of paper developments and was ready to move on to black line sketching, when Sarah forbade me sketch and instructed that I should only use calico on the stand. I spent the following three days utterly immersed in the process of calico draping and the developments created because of this informed my final outcome profusely. An example of informative peer advice came from a group ‘crit’ where multiple peers expressed their desire to see larger textile samples in my sketchbook, beyond the relatively small, knitted samples I was producing. This led me to create a vast array of samples, exploring processes from gluing and melting, to surface stitching and dying. The samples eventually informed colour palette curation and fabrication sourcing and one paint sample inspired me to use liquid-latex, which was then ultimately used on my final neckpiece.

6. Key points to take away – things to change about my approach (give at least 2) e.g. improve time management, what skills you have developed and how this will affect your future course/career and things to continue doing and to build on (give at least 2). What are you going to do next year? (NOTE – you may find it useful to refer to this document at the beginning of your next self managed project.)

This project has been deeply constructive in helping me discover who I want to become as a designer. I have discovered new-found love for processes like calico stand-work and textile sampling, whilst in the final promotion stage I identified a keen admiration for styling, recognising its ability to transform a final look’s presentation. If I were to do the project again I would endeavour to have found more exhibitions and galleries related to my project, where I could see the work in person, as much of my artist research for my Final Major Project came from the internet or books. I would like to have allocated more time at the end of the project to organise some kind of personal presentation, be it a mini show, public statement or video screening. I would like to have been able to afford for my final garment to be 100% recycled Ultra Suede and therefore ethically and environmentally sustainable, but must be content with the disclaimer that if I were constructing for the industry, with a higher budget, the collection or final piece would fulfil my desire to be entirely eco-friendly. I do feel somewhat hypocritical that the final material is synthetic polyester, but at least the desired intention/concept remains. I was the student that thought they didn’t need a foundation, using the course as merely a stepping-stone to BA. I could not have been more wrong. The course has changed my approach to design utterly. My referencing process, even more so since FMP, is better considered and more wide-ranging. Art and literature play a bigger role in my secondary research collation- for this project writing by Carol J. Adams and paintings by Aertsen and Corinth have been influential, whilst my colour palette is refined and referenced, as apposed to chosen impulsively. My greatest development, I believe, comes in regards to silhouette development. As previously mentioned, the process of calico draping, that I have explored and developed within FMP, will go on to aid me in all future design projects. The shapes and cuts resulting from it are more conceptual and lend to a more unique aesthetic- uniqueness and concept being crucial for BA fashion study. On my BA fashion degree I will focus on the word ‘process’ as I have learnt to do on this foundation. I will be sure to use a vast range of processes, to make for better project outcomes. Draping, cutting, gluing, melting, stitching, heat- pressing, dying, stuffing, quilting, beading, shredding... the list goes on and on. Without these informative and fun methods of design, I would remain with similar, repetitive design outputs; with these methods (and many, many more) I push the boundaries of what is possible in design.

Final Major Project Week Eight

In this final week of my Final Major Project I have been certain to reflect and evaluate in full measure. I have browsed through my sketchbook and blog on multiple occasions to explore my project as a continuous thread of ideas from start to finish. I happily conclude the project to have a distinct narrative and believe it transitions well from page to page with each idea complimenting, a reaction to, or moving forward from, the previous one.

Final Design Board- Author's own

Construction of my final looks was interesting and I have experienced feeling more indecisive than ever before.  Having made both my pleated red gown with exaggerated sleeves and latex gown with surface decoration I couldn't decide how best to shoot the garments.

Sewing the latex proved extremely difficult, namely because of using a domestic sewing machine not designed for construction in latex. To solve this problem I used red, grosgrain ribboning to bind the seams, however this meant a red stripe on either side of the dress not intended in the initial design. I felt the stripes gave an unwanted sportswear aesthetic to the dress and an overall look verging on bad fancy dress shop meets 80's air hostess. Even when paired with one of the sleeves of the red gown, which granted was a large improvement and close to my desired look, I still wasn't happy. I discussed and evaluated with peers and my tutor and concluded to set aside the blue look in favour of giving all focus to my well-executed red gown; after all a second look was not even a requirement anyway.

When styling the final look on a mannequin I was further disappointed- the red gown, with great hanger appeal and craftsmanship seemed as though it wouldn't work on the body (the proportions of the look when on the stand were off). I asked a friend to try the piece on and once again added to my disappointment. The look lacked the sex appeal I aim for in my outcomes. With shoot day in 12 hours I consulted peers and was convinced to be content with the outcome and to 'sleep on it'.

For the studio shoot I cast professional model Jade Sorely, with help from sessional Carol Wisemen. As soon as the dress was put on the model my feelings of disappointment disappeared. Via my own instinctive styling and artistic direction I chose to leave off the second, lighter sleeve to show more flesh, balance the proportions and reveal the feminine form. I used a luxurious velvet waist band, that I had brought to the shoot on the chance I would need it, and cinched the waistline of the look. The exaggerated hourglass silhouette created was sexy, feminine and powerful. With myself directing the shoot and Emily Anna photographing I was greatly pleased with the final shots. I concluded the final outcome to be succesful and reflected upon quite how important the ultimate promotion stage of a project is, in properly showing off the hard work to its full potential.

Final Major Project- Final Outcome

Feeling inspired by my styling/ creative direction of the gown shoot, I sought to play around with the lighter sleeve left off and the latex dress, condemned as tacky airline steward wear. On impulse, using a male model, I wanted to explore a paradoxical style to the overt glamour and femininity of my initial gown shoot. Leaving on my model's own casual jeans and white trainers, I styled a sexual, yet poetic shot on red, studio backdrop. I used the latex dress as a loose, draped sleeve, attached to the dark red, scuba sleeve removed from the gown-outfit. The look was masculine and relaxed, unlike the haute-glamour of the gown shoot, yet equally as empowered and sexualised. I photographed in natural light, encouraging a softer final result and upon reflection felt the two final outcomes worked well as demonstrations of my potential versatility as a designer.

Final Major Project- Additional Outcome

When selecting final concept and development boards for submission, I felt confident in choosing simple snapshots of my project, from certain stages in the project, instead of trying to cram all ideas explored onto one single, ultimate collage.

Tutor and peer reaction to my project throughout has been encouraging and if but one person has felt compelled to reconsider some of their consumer decisions because of it, the project is, for me, a success; whether greatly or marginally influenced by me, two friends have gone vegan in the time since discussing my project with me.

Final Major Project Week Seven

In this penultimate week of my project I had aimed, in my proposed plan of action table, to already have had my final line ups complete, so as to be ready to begin construction in week seven. However, having discussed how quickly I am able to construct with a tutor, we resolved to hold back from the final line up/ construction process for as long as possible, so as to maximise as much as possible on my design potential. Upon reflection I feel this was a sensible decision as further ideas, that have become fundamental to my final design, emerged in these last days of design; to have stopped before this would have meant a less refined final look.

Aforementioned fundamental designs include a latex sampling process previously unexplored. This was the hand application of liquid latex directly to final material, leaving finger imprints to set in textured surface decoration. I had loved my earlier latex samples, done in transparent putty flesh tones with knit-de-knit yarns and abstract cow print details, however I could not see their marriage with where my silhouette development had taken me and needed an alternate latex application that would not jar with the voluminous shapes I was working with. I evaluated that this finger imprint surface texture was said process and that the outcome, albeit literal (bloody looking gore for a vegan project) was succesful enough to incorporate into my final line up.

Design Board- Author's own

Another idea that arose only in the final days of design was to use paper in the final garment(s). Having used paper throughout to explore silhouette/ add volume/ visualise print, it had never occurred to me to use the prosaic material in a refined final piece. Yet the sensory appeal of paper, as well as its ability to give bulk and volume, led me to desire it in my final look(s). The crackling, rustling sound it makes was to me like the crackle of bones, whilst the pointed, non-smooth finish it gives when stuffed into fabric felt more suitable than toy stuffing or wadding, which would give a smooth, cushioned effect.

When finalising my line up I chose the four techniques/ research results I felt were the strongest of my project in its entirety. These were (1) the colour combination of abattoir uniform referenced turquoise with bloody red (2) the voluminous puffed sleeve silhouette developed from my own primary 'meat in a plastic bag' photography research (3) heavy vertical pleating derived from extensive stand-work/ calico draping and (4) the liquid latex, textural surface decoration.

Off the five looks I concluded upon (as shown here in my final line up) I selected the one I felt was the most 'grand' as my submission look. This was a floor length, vertically pleated gown with giant, stuffed sleeve, off shoulder lighter sleeve and latex decorated neckline. I felt this look would have the most impact in an editorial scenario or studio shoot.

Final Line Up- Author's own

I began construction of the look in Week Seven but this carried through to the start of my final week.

Having evaluated how on track I was I chose to make a second look from my line-up as I felt I had the time and that it would not interfere with or hinder my ability to complete the project as planned. I chose a blue latex dress with liquid latex surface decoration as this second look. This was because when reflecting on the project I realised my final chosen look didn't actually include my so-loved colour combination of blue and red.

Final Major Project Week Six

I am now using my sketchbook as bible of ideas to delve in and out of with pleasure. I find forgotten treasures of ideas on earlier pages that when married with recent silhouette ideas create beautiful combinatory design ideas.

Black-line sketching is a process I have always felt completely comfortable with and am somewhat pleased to be finally returning to it. Conversely I felt that my initial sketches, as if by rote, were very typical of my older, less developed style. I made mental note to really extract from all the extensive development I have presented so far. After this initial phase, the designs began to pour. I am pleased with the majority of the sketches and now face the difficultly of a decision making process, in order to present one refined final look.
(Upon commencement of the project I was aiming to produce a collection, this is by no means unfeasible still, however I wish to concentrate on one beautifully executed piece before addressing other looks or spreading myself too thinly.)

Sketchbook page- Author's own

At this stage, having now a developed range of silhouettes, a reintroduction of colour and textile is crucial. I have began fabric sourcing from my personal bank of samples as well as via a visit to Chelsea Harbour Design Emporium- I am carefully pairing specific samples with my sketches to build a picture of the lustre/ texture a sketch would have if constructed in 3D. Naturally, through my research and development, a colour palette was formed (browns from cow hides, red from blood, pinks from flesh and turquoise and yellow from abattoir uniform). I have moved my tone explorations forward by selecting a wide range of specific colours to form a well-edited palette from which to work. I no longer think in terms of dark/mid/light 'red' rather 'High Voltage Red' or 'Scarlet Tanager'.

Sketchbook page- Author's own

Final Major Project Week Five

I have previously received criticism that I do not always best show my final stages of design development. I agreed that often, after extensive research and development, I feel full of ideas and conclude on a final look without documenting that key, final process. For that reason I am conscious to devote lots of time to the design development phase in its entirety.

Through planning and production analysis I can conclude I am well on track/ ahead of schedule and this means I can confidently maintain a steady approach to the project, without rushing.

At the start of this week I explored latex textiles. Using trays, I solidified liquid latex to create sticky, skin like samples perfect for referencing my 'peeling' leather research. During the process I exploring adding in knit-de-knit yarn from deconstructed knitwear given to me on work experience at John Smedley. The end result reminded me of some research imagery of the detailed stomach linings of cows. Other samples included regular wool (acrylic) yarn shaped to mirror internal carcass structures. I spent a whole day exploring these samples on the stand, combining them with a large piece of coated scuba material left over from a previous project. I felt the results were very beautiful and elegant but by no means exceptional in terms of silhouette of general uniqueness of aesthetic.

Sketchbook page- Author's own

I am aware that my focus on colour and texture is strong and because of this I am deliberately avoiding both for the meantime. By eliminating the two, there is no distraction from silhouette and potential cut, resulting in all my efforts and attention being on shape and form. Using regular calico or tubular knit I have experimented and further developed shapes. I feel I am capable of a more intricate and detailed approach in terms of silhouette. The process of draping on the stand is interesting and prolific in presenting numerous ideas for final silhouette. I have pinched and tucked to mimic artist research images by Lovis Corinth and Chaim Soutine, stuffed and quilted to reference internal carcass structures and machine embroidered abstract cow prints, then padded them with foam and cotton wool to add 3D appeal/ translate docu-film research.

Design development page- Author's own

I am enjoying exploring different processes and feel I am constantly pushing myself forward and outside of my normal methods of practice. I feel some stand work has been more succesful than others; many pieces can appear deeply un flattering and too 'conceptual' resulting in a breach of my desire to flatter and emphasise the female silhouette.

Planning ahead I shall commence sketching ideas in black fine-liner and begin to draw the project to a conclusion. I will be certain to refer back to my sketchbook when doing this so that interesting and informative research/ development is not lost.

Final Major Project Week Four

I am wary of the time scale of my final major project and am therefore constantly checking my original project action plan and timetable. Having compared my proposed level of development with my current position I am confident that I am on top of work and planning my production effectively.

By week the end of week three I had intended to have extensive primary and secondary research, drawings and collages as well as to have conversed with peers about the subject matter in hand. I have achieved these aims so far and am even ahead of schedule, in that I am already well into the textile and silhouette development stage I had proposed to commence in week four. 

Upon reflection I have identified that at the beginning of the project I was more heavily involved with facts and figures and that I had hoped to combine slogans with my creative work. I have decided that, although this neglect was not necessarily intentional, it may well be for the best, as my work is edging towards a more conceptual, less literal approach to veganism. Through critical evaluation I have concluded to allow my natural progression away from original intentions, as this is part of the process. I may later return to the slogans, facts and figures I explored earlier in the project, for additional design or promotion purposes. 

In order to advance my project I have begun official design development. I am using practical skills such as paper manipulation, calico stand-work and silhouette extraction to do this. I find the method of using paper on the mannequin effective in producing quick and easy silhouette ideas. I have so far translated artist research into Lovis Corinth into carcass inspired paper forms, extracted silhouettes from docu-film imagery of peeling/skinning cows- exploring them in thin-weight paper on the stand- and directly interpreted Alex Van Gelder's meat portraiture (as well as the primary research I conducted inspired by it) when draping in calico.

Sketchbook page- Author's Own

When presenting this development in my sketchbook, I felt some pages were more succesful than others. I identified the problem of fitting multiple variations on one page, along with the research that inspired it. I solved this by allowing a 'busier' page than I might usually and accepting that this need not compromise the success of the composition of the page.  I concluded also that going forward I would present my mannequin work on larger print outs to allow an audience better viewing of detailing.

Sketchbook page- Author's own

During the process of draping on the stand I endeavoured to find the balance between my context being apparent and an avoidance of too literal design-work. I pinned carcass shapes on the form, but allowed them to curve, fall and be manipulated. This made for an abstraction of the original silhouette whereby the reference and context becomes less obviously presented. 

I feel my stand work is very strong, however I am aware of the multitude of different styles I am trying to do all at once. This is something I habitually do and through self-evaluation am trying to address. Going forward I aim to tie each element of my research together seamlessly, but will certainly not cram all my ideas into one final output as this would dilute the content and decrease the overall quality of my project.

Sketchbook page- Author's own

Final Major Project Week Three

Having evaluated my work so far I am encouraged to be further conscious of exploring and utilising the multiple processes I have learnt throughout this foundation.

As part of my constant self-evaluation process I have asked peers their reactions to my work and also find group crit meetings highly useful. I have taken their advice to create larger textile and tactile samples. I have done this by delving into trials of melting, gluing, painting, stitching, dying and other surface decorations and fabric manipulations.

Process documentation collage- Author's own

The textile samples I am creating aim to be fleshy, skin-like and grotesque but to also have a touch of beauty and intrigue. Each sample is a literal or conceptual translation of my research material. For example for one sample I took a docu-film research image of a dairy cows in poor conditions and manipulated the image using the flatbed scanner. I found this to be a succesful method in producing interesting textile ideas on paper. The process is prolific and when combined with melted, synthetic felt in a blood red tone, stitched and cut into, revealing negative space, makes for a highly inspiring textile design idea.

As well as taking advice to trial larger samples I was also encouraged to have more primary research. I jumped out of my comfort zone therefore and began photographing meat in plastic. I referenced my artist research into Alex Van Gelder when conducting this photography session. I was inspired by him in that I used a black background and vivid/ intense colour contrast. I have since explored multiple processes with the photographs taken; I have printed on photo paper, tracing paper, brown paper and acetate and have also melted, stitched, sealed and cut into the images. Some of the primary research shots will be useful for silhouette extraction.

Sketchbook page- Author's own

I am believe my use of stitching and layering, to mirror cow prints discovered via my initial research stages, has been succesful. I have sourced interesting velvet and neoprene samples that when combined create an engaging juxtaposition.

Sketchbook page- Author's own

I am pleased that I was encouraged to hold-off beginning my official 'design process' of black line sketching/ clothing design on A4, as this has prolonged my earliest stage; which is the rawest creatively. This has meant I am continually developing varied processes and design methods beyond the, sometimes restricting, process of fashion sketching.

Going forward I feel I am ready to begin the more solid translation of initial research into design development. I will work on the stand in paper, calico and colour, collage images as part of silhouette progression and commence contextualising this development on the female form. 

Final Major Project Week Two

Through self-evaluation I identified the need to explore textile more extensively through my work. With this is mind I have explored the process of knitting as part of my initial design research. By weaving various materials into the needles of my machine I can create interesting, textural samples. I have chosen red and pink yarns to evoke flesh-like imagery, whilst an introduction of turquoise references my research into abattoir-wear. During this process I found that thicker woven strips could hinder the overall knitted sample, and that 5cm was approximately the maximum width for external yarn additions when knitting.

Knitting process- Image Author's own

 As part of my constant self-evaluation process (which I believe will help me procure a better outcome in the long run) I have discussed my work with peers, asking their advice. Many have declared how shocking some of my research and sketchbook page work is to them so far, and because of this I feel I am on track. Many encouraged me to explore larger sampling... I heeded this advice when melting plastic around synthetic felts and painted card to form sticky, conceptual samples, larger than previous knitted ones.

Research page including knit sample- Author's own

I am consciously remaining highly conceptual at this stage, even grotesque, as I believe this keeps my research and concept in its rawest form. I will later refine my research and discover how it may filter into desirable and fundamentally sellable clothing. 

Peers have identified my lack, at this stage, of primary research imagery, many of my pictures coming from film research screen grabs and related articles. I will therefore ensure to take my own photographs going forward to widen and personalise my referencing material.  

Final Major Project Week One

My initial approach to this project has been heavily image-research based. I have used screen grabs from films such as 'Cowspiracy' (one of my major references for this project) and 'Food Choices' as well as anonymous, undercover exposé videos.

I choose to layer these images in collages in my sketchbook whereby the composition of the page highlights the research material. I find that making images translucent and superimposing them upon each other makes for succesful distortions and interesting interpretations of initial imagery.

The process of extracting silhouettes from imagery with the use of tracing paper or black marker pens helps me to build the foundations for the silhouette development I will do later in the project. Using clean, black lines helps to abstract and simplify forms into workable shapes.

Sketchbook page Author's own-
demonstrating transparency, layering technique and black line silhouette extraction.

I have been sketching my personal interpretation of some of my imagery and the scenarios I am learning about. I find this a helpful method of primary research, whereby my use of the pen can reflect my emotions- aqueous red ink for bloody anger, hard, black charcoal lines for pressure/imprisonment or light chalk for the souls of animals, are some example of this.

I anticipate that the process of peeling will form a key part of my project. I have conducted upsetting yet informative research into the skinning processes of the livestock industry, be it for meat or leather businesses. Using layers of painted glue, which I let solidify, then forcibly peel back, I am already creating my own substrates (which upon development could turn into leather alternatives) and translated theoretical/ image based research into inceptive physical samples.

Inspired by the 'hot branding' of livestock with fired metal irons, I have began the exploring the process of scorching, branding materials. I am experimenting using a domestic iron, cigarette lighter and other miscellaneous metal utensils, to create heat damaged, melted or 'branded' samples.

Upon evaluating my progress so far I believe I am well on track and that my sketchbook so far is provocative. This is supported by several 'peer-crits' where the reactions to the work have been emotional and often disgusted but also supportive. I am already falling into my habit of remaining very image based. I will make sure in the coming days to jump further into textile development and physical research interpretation.

Concept Board- Author's own

Final Major Project Proposal Overview

I intend to explore ‘Veganism’ and ‘Climate Change’ via firm concentration on the impact of the livestock industry on our planet, as well as the ethics behind our treatment of the animals we use for food.  As a vegan and environmentalist, I intend to expose the realities and dangers of our destruction of other species and of this planet, through the medium of design. This could, at this stage, come to fruition in performance art, 3D design or film, though I predict, as a future BA Fashion Design student, I will create a collection to explore this concept.  I will encourage debate through my work and discuss the conflict between empathy towards animals and remaining green- acknowledging that many alternatives to natural fibres, hides, skins and furs are synthetic and harmful to our finite fossil resources. Within this exploration of fabrication I intend also to challenge our view of luxury and how we perceive it within western and global society. I will ask why the skin or flesh of another creature is considered desirable in our world.  Extensive research into alternative materials, with the same amount of sensory appeal as the real thing, will inform much of my project and highlight how far we have come with modern fabrication. I will invest a significant amount of time exploring my own textile creation within this project- this may involve knitting, gluing, bonding etc. my own alternatives or even growing my own substrates as leather substitutes.   I suspect that much of my concept-exploration will have sinister undertones, as I feel passionate and angry about humans’ treatment of animals as well as the catastrophic impact our consumptions have on the planet. I hope this darkness will be interesting and occasionally confrontational, causing my audience to self-analyse and reconsider their actions towards this planet and the creatures on it.  I am adamant my project will not fall into the aesthetic of recycled trash nor neutral ‘hippy-linen’ and that this avoidance of the perceived style of eco/animal-friendly clothes will further encourage a reconsideration of daily consumption within fashion. Initial concept boarding- Author's own Initial concept boarding- Author's own

Politics Project

I chose to focus on historical injustice towards homosexuality for my Political project. This began with me looking at Henry Du Pré Labouchere's agreement in 1861, that officially made homosexuality illegal in England. I wanted to focus on characters through time that have suffered as a result of the law, namely Oscar Wilde and Alan Turing.

I felt that through the project I could posthumously liberate the men in some way. We live in a world where sexual liberty and expression is increasingly accepted yet equally increasingly under threat due to, to offer but one example, Donald Trump's regression as regards to LGBT rights in America and without even mentioning the medieval treatment of homosexuality in the middle and far east. I wanted my project to be about about pride but also to honour and appreciate the sociopolitical climates and historical clothing of the eras my two characters lived in.

I conducted extensive research and remain to find the process of combining mixed mediums- print, digital collage, pencil, pastel, ink, chalk etc- effective in producing prolific research and design development pages.

Alan Turing famously invented the technology on which all computers are based, when developing a code breaking machine, during the second world war. After national celebration of his achievements as a war hero, he was found with a male lover and, because of the Labouchere act, forced to choose between prison and chemical castration. He chose the latter. Imagery of lurid green chemicals and syringes informed some of my colour decisions whilst personal photographs of Turing contributed to my mood when designing.

Oscar Wilde was the flamboyant and celebrated writer of such plays as 'The Importance of Being Earnest' and held a respected position in society. He championed expression but was caught and prosecuted under the Labouchere agreement. He was forbidden from truly being himself and went to prison for his sexuality. I wanted to honour details from his own clothing, which he used to subtly express himself, via the ruffle, the pocket flower and the satin bound lapel, to name but three details.

I chose to reference the persecution of homosexuals during the Holocaust, imagining the victims reclaiming the stripes of their 'pyjama-like' uniform and filling them with colour like the stripes of the pride flag. I imagined this as a fantastic 'fuck you' to Hitler's oppression, however I felt as if the concept (denoting of a project all to itself) was somewhat lost amongst the main themes of Turing and Wilde and that to not fully explore the idea was perhaps a little insensitive/ remiss.

I introduced the idea of a fictional meeting to the project also. This was Wilde, Turing and a Holocaust-persecuted Homosexual meeting at a 21st century Pride march and being enamoured by the freedom and expression. I saw this as profoundly quaint and potently sincere fictional moment.

My collection as a whole feels necessary in the current sociopolitical climate, where right-wing nationalism and intolerance spreads the world. The multicoloured pride-stripe offers well-needed symbolism of happiness and expression and offers protest to the, at times, frankly Dystopian nature of the current world.

Collage author's own- using imagery from multiple sources

Author's own

Illustration

This week we have undergone an illustration workshop. I was inspired by visiting the Show Studio exhibition of Fashion Illustration in Victoria. I felt that techniques such as 3D fabric collage on a piece by Charles Jeffrey and detailed watercolours on multiple works by Paola Travers could inform my own illustration styles.

I was very pleased with my initial exploration of 3D collage illustration using denim and linen with thick oil paint and pro markers. The explorations were succesful because the mix mediums were tactile and visually textural.

I highly enjoyed the workshops we conducted in the studio because the processes we underwent were not those I would have thought to choose myself. One in particular, a 'draw your reaction to this word' exercise, was interesting. Without any proper thought process I channelled my reactions and emotions to such words as 'opulent', 'gravity' and 'flying and falling'. I aimed to abstract my feelings and portray them in less obvious ways. For gravity for example I used black charcoal alone and  pressed it against the paper with tangible force- this force for me reflected my reaction to the word.

Upon beginning to become figurative with my illustrations I aimed to distort and extend the human silhouette. I felt this succesfully portrayed a mood and elegance whereby some of my elongated figures looked swan-like, gliding or well-poised. I continued to explore mixed mediums and felt the marriage of white chalk and black ink was effective because the two felt antithetical (the chalk's crumbling, pale softness well-contrasted the dark and aqueous ink).

I will take the skills I have learnt through workshop forward for further projects as a promotion device, alternative to a fashion shoot or simply as extra artistic exploration of any given theme.

Author's own

Author's own

Autonomous Substrates Project

 ‘Autonomous’ meaning independent and ‘Substrate’ meaning a surface, material, substance or layer, were both words that led us to explore cells, namely aggressive cancer cells, that mutate independently, creating internally damaging and often fatal layers. 

We were conscious of the sensitivity of such a subject matter, but felt, when evaluating holistically that technology too is like the cancer of our society, and that our exploration could present a potent, rounded consideration of tech itself too.

All our research was grounded in scientific imagery of cells. The vivid tones and extremely intricate details of the images served as strong secondary research. When drawing from this imagery, we were able to explore silhouettes and detailing in an extensive manner.

Multiple spheres, with what looks like stretching, stringy structures cast between them, soon emerged as our key design detail. With this in mind we set about 3D printing our own designed structures inspired by this main detail.

Due to the restraints of time associated with 3D printing, as well as our own pre-conceived prejudice against the software we were using, we decided to take the technology back into our own hands, literally.

Using a 3D printing pen, we were able to experiment with intricate detailing, textural adornment and even whole textile creation. It felt to us like a re-appropriation, where, in our ignorance concerning programming, and tech, we could combine raw creativity with futuristic technology. 

I have always considered wearable tech and 3D printing to be a niche market- light up dresses seeming particularly naff. Yet I now see these new technologies as artisanal craft, as much as they are scientific inventions. Whether it serves a function or in our case is purely decorative, the use of wearable tech is undoubtedly the future and can sit side by side with long established design styles and aesthetics.

Author's own

Industry Project- Promotion

I knew that I wanted plain, infinity-roll, background shots for our look-book so photographed these on a model too. I am confident that my front, back, side and detail shots would aid the press and buyers to better understand the collection.

I edited the shots from both the on location and look-book shoots and selected my favourite finals. I expected my peers to arrange them into a physical look-book but having delivered the files, received no indication that a look-book was underway. To ensure we met the assessment criteria I mocked up an electronic look-book and campaign.

I sent this to a peer to align, edit and finalise, which she declared was done properly, yet later discovered no alignment to have been done and very little by way of titivation to my original file. At this stage I felt further let down my promotion peers.

I enquired as to the concept behind our invitation to discover no invitation was in preparation. I was disappointed with the simple and basic invitation that was later produced knowing how creative contemporary fashion promoters are being in the industry with their fashion show invitations.

Come presentation day I felt a little drained and that this collaborative project had not been very collaborative. My tutor encouraged me however be proud of my own achievements on the project and this I felt was reflected by our second place award.