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