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.