Cutwork Body Installation

Focusing again at the slow, repetitive process of cutwork, I was interested to visualise their look once placed upon the body. Layering the pieces creates a lace-like finish to the sculptures; the beauty of lacework is something that I would like to develop in unit x, focusing more closely at the placement of the work on the body and producing samples accordingly. I feel that the pieces replicate the shore line well through their fragile shapes and overlapping patterns, similarly to the way that the movement of the waves leaves different marks each time the waters cross one another. I can see the relationship between these cutwork pieces and my ethos designs working well together: cutwork being more expressive and visual, where as my ethos designs portraying a much more delicate embroidered look. Thinking of ways in which I would be able to incorporate the two techniques together, I am going to experiment with cutting into my samples and layering them together, as a way of revealing new patterns, similarly to the approach that I used in my drawing stage.

Designer Research: Iris Van Herpen

'The water-dress symbolises for me the incomprehensible magic of the body... I often wonder if we will keep on wearing fabrics in the future, or if dressing will become something non-material, something that is visible, but not tangible or touchable'

Iris Van Herpen is a designer that I feel has always had a strong influential connection towards my work, more so now that I am beginning to research glass-work alongside my current practice brief. I feel that this collection can be used as inspiration for both the structural quality, incorporation of a shoreline form and material choices.The featured collection, entitled 'Rain', builds upon a previous concept of liquid clothing that Iris Van Herpen showed in her 'Crystallisation Collection' at London Fashion Week 2010. The aim is to create sculptural garments, based upon uncontrollable, ultimately unwearable materials, in this case, water.

Iris Van Herpen: http://www.irisvanherpen.com/

Working in the context of couture fashion, Van Herpen's brand is placed where I can see my own practice to fit into. Looking closely at this collection in particular, the limited colour appeals to myself, especially as my current practice has a transparent to white palette, relying solely on stitch and embellishment to bring interest into my samples. The attraction towards Van Herpen's pieces is the addition of embellishment through sculpture, instead of the usual of bead-work or embroidery etc. Taking these pieces into account, I feel that in my upcoming weeks in my glass workshops, I would like to learn how to create surfaces, using glass as the material, as well as using the form of the pieces for continuation of research and drawing for my own practice unit.

Glass Workshops: Introduction to Glass

Receiving an email from 3D Design tutor Kirsteen, offering the opportunity to work with glass for development within my own practice of Textiles in Practice, I have shown interest in learning this skill as a way to bring a new diverse element of material for my portfolio.

http://www.art.mmu.ac.uk/profile/kaubrey

Left: Pate De Verre by Slyvie Vandenhoucke: http://sylvievandenhoucke.com/; Middle: Annie Cattrell: http://www.rca.ac.uk/more/staff/annie-cattrell/, Right; Kirsteen Aubrey: http://www.art.mmu.ac.uk/profile/kaubrey

Today I attended an introductory presentation in order to learn about different aspects of glass (the different techniques and methods that can be achieved in our University facilities), meet Kirsteen, and to explore research into the material of glass, and designers' work. I have very little knowledge of glass, yet have always been interested in the qualities of the material. Aspects that Kirsteen is aiming to be explored during our time in glass-work include: process, material, time, environment and group dynamics, working with the techniques of molten glass, blown glass, lamp-work and flat glass; all of which sound extremely exciting, and I am already looking forward to beginning the methodology properly in the New Year, and ultimately, incorporating the best techniques into my own practice.

WGSN Trend Forecasting

WGSN is a trend forecasting web resource allowing access to upcoming annual trends; with regards to colour, material and fashion etc. Wanting to work within a fashion context, it will be essential requirement for me to understand the current and future trends in order for my work to fit into the industry. I have recently been researching into the 2016/17 trend predictions. From my research it appears that the trends that will occur over the next three years include white-work, heavy embellishments, iridescent fabrics and the technique of cutwork- all of which I am interested in and currently working with. One forecast, entitled 'Elemental' caught my eye at first, working with the concept of drawing textile design from organic, natural surfaces, including waves and the shore line.

http://www.wgsn.com/en/

Designer Research: Karen Nicol

Selection of Works from Karen Nicol: http://www.karennicol.com/

Karen Nicol is an embroidery and mixed media textiles artist, that works across a diverse selection of contexts including fashion, interior and gallery space. Being an embroidery artist, she specialises in industrial machines including Multihead, Cornely and Irish. Karen Nicol is a large inspiration for myself and my practice, both in the sense that I work with the same embroidery machines and also feel as though my current work is able to be adapted to cross over different contexts in the textiles industry.

Live Brief Opportunity: Alice Kettle

Beginning in February 2014, I have been taking part in work experience with embroidery artist Alice Kettle, through commission and collaborative opportunities. Without sounding cliche, I have always wanted to both Alice, and work alongside her, as her embroidery work has been a large inspiration throughout my studies of textiles.

Recently, Myself and a fellow textiles student have been helping Alice with a large commission that she has recently taken on. Working with Lloyds Register, she has been asked to create a transitional embroidery piece that is able to represent the companies' move from Central London, to a larger work station in Southampton. I feel that work experience will be beneficial: learning to work the experience alongside my third year projects, giving input in an external surrounding, learning more about outward facing projects with a successful artist, and in general, learning new skills and techniques to use in embroidery.

Context Installation & Designer Research: Rachel Wingfield Loop pH

I have been spending a lot of time creating patterns from cut-work into different qualities of papers
and fabrics. Previously, I have felt that my work is most suitable for the context embellished fabrics for fashion, though thinking about my work up to now, I now feel that my work may be suited across a diverse range of contexts, as the pattern is adaptable for different spaces, both fashion and installation.

Left: My projections shown upon the Art School walls, Right: Loop pH: http://loop.ph/ 

Working upon scale, I found myself experimenting with a fellow students' wall projection, shining my layers of cut-work upon the walls of the art school, looking at the different sizes and formations of the shapes produced, as well as the way that passing students reacted to the space. All were interested as to where the patterns were coming from, as well as the difference of scale between my original pieces of work, and those produced upon the walls.

Loop pH, ran by designer Rachel Wingfield, specialises in the construction of lightweight architectural sculptures, suited for large outdoor spaces. Their aim is to create 'visionary experiences and environments that can act as an interface between the familiar and the unknown' as well as creating public involvement with their pieces. The brand intend for their sculptures to be explored, touched and handled as a way of interaction through a space. Seeing the work of Loop pH, I have realised that I should expand upon my original contextual research, and look into larger scale pieces suitable for installation, diversifying my work toward different contexts.

Ethos Designing

The translation of my drawings into embroidery has began with the Multihead Ethos software. My aim is to recreate the same qualities of my hand-drawn white surf marks into stitch. Using different material surfaces, including organza, velvets and silks; I am exploring the best textures given from the stitching.

My next step shall be to work with manipulating the pieces in attempt to replicate the same features to those of my shore line photographs: layering the fabrics, cut-work, embellishments. Thinking about the context for these samples, I image both garment or installation spaces, adapting themselves into a required space. Although these samples are flat, using methods such as 3D-printing would allow structural design to take place.

Development Through Layering

The continuation of drawing is important to me this unit as it allows my ideas to constantly flow, and I find the process very relaxing, especially when faced with a busy environment in the studio. Throughout my development work I have realised that I really enjoy the slow, serendipitous process of cutwork. The method of cutting creates a calming emotion, similar to that experienced when faced with the shore line. After creating a numerous amount of cut samples, I have began to layer these together, looking at the patterns produced, which I will then go on to design with the Ethos software, in order to create my markings as a machine-embroidered design. The process of layering and scanning my images creates a development in my work, changing the original pieces into something more interesting to both look at and work with.

Outward Facing Brief: West Dean College

During my second year Locating unit, I applied to West Dean College taking part in a competition requesting a bursary for a workshop ran by textile artist, Janet Bolton, and was accepted.

The five day course was focused upon translating pictures into textiles design, enabling participants to be inspired by Janet's style of work. Note: Janet and myself have very different approaches to embroidery design- mine recreating abstract hand drawn marks through machine and hand combinations; Janet taking a more literal approach creating relationships between cloth, memories and stitch. I find the most enjoyable aspects of workshops is to be inspired by a totally new method of working, to then adapt to my own traits.

Janet works with the concept of playing, working around colour ways and themes, using literal examples of people and places to create scenarios from fabrics. Passionate about folk art, she enjoys the nostalgic approach towards her work, other people's interpretations found in the pieces she produces.

I was able to take invaluable advice from Janet with regards to the textiles industry, as she herself has spent her entire lifetime travelling and exploring different contexts and processes of working. The biggest piece of guidance was that you don't need to please anyone but yourself. Irregardless of degree grade or qualifications, if you show enough determination and passion, you will succeed.
Also, you should never think of things that don't work out as negative: doing things that you don't enjoy backs up the confirmed passions that you do enjoy.

Designer Research: Maia Bergman

I first discovered Maia Bergman's work via Pinterest, whilst creating my summer boards. Maia is a 2012 Graduate from Central Saint Martins, specialising in fashion print design through a collection of pastel colours and embellishments. I am interested in all aspects of Maia Bergman's work: colours, materials, concept, context, embellishment. Corresponding with my own practice, I am interested in incorporating heavy beading work into my final samples using a neutral colour palette, as this is my preferred palette to work with. I am considering taking a similar approach with my work to that of Maia's; creating a collection of samples that are similar to one another, with only the pattern of work slightly changing, in order to give versatility and individualism.

Maia Bergman: http://maiabergman.tumblr.com/

The element that I find most interesting in her work is the use of plastic beading for a context of high couture fashion, with Maia stating that "cheap glamour is irresistible". Using the materials that you have to hand is a knowledge that I believe will be of use in our upcoming project; as I am wanting to work a lot with multiples and repetition, I will need a resource of materials that are easy to source and a reasonable price.

Initial Drawing Work

To begin this unit, I have been looking closely at my primary photography research. I find it fascinating that the patterns produced by the shoreline are constantly changing; there are never two identical surfaces created. The rhythmic, repetitive movements inspired me to begin drawing. I want to keep a clean, crisp white colour palette, similar to my original research, therefore drawing with white materials onto different qualities of papers: card, paper, tracing paper, acetate.

In reflection of my drawing,  usually I prefer to draw literal pieces from drawings or sight, so beginning with the technique of loosely drawing from photographs has been a new way of working for me. Technically 'doodling', I have enjoyed the process of creating repetitive, unique patterns, allowing my own hand stamp to become apparent through my initial drawings. With regards to the development, I shall begin to layer my drawings and the different surfaces that they are drawn upon, in order to find out which layers work best together, then ultimately thinking of ways to combine my hand-markings into embroidery design.

Initial Research: White Surf

My initial concept has derived from my excitement of the translation of natural surfaces and objects, into embroidery design. I am interested in exploring material qualities and the possibilities of manipulating materials for their chosen contextual purposes.

Primary research began with the shore line and found objects collected through the process of beach-combing (ropes, shells, feathers, glass)- I am always thinking about how I would be able to recreate these through embellishments and textural surfaces. I am most interested in rolling waves and white surf, and the way in which they create an impermanent pattern. The process in which they do so is calming, and sends the spectator into a state of meditation. The uncontrollable, repetitive patterns that are created by the white surf reveal individuality, with no two sequences ever being the same. Through repetition, multiples and drawing, I intend on creating a quality towards my work, making my own personal hand markings to show uniqueness through each piece. Through the process of layering my work, I am also able to recreate the way in which waves move upon one another, creating even newer patterned results.

Summer Boards

For our summer task we were asked to produce four boards that gave an overview for the direction that we could imagine our final year project to head towards, looking at the four topics: inspirations, concept, context and media/ process. I am inspired by nature, looking at natural forms, textures and surfaces as starting points, thinking about how it would be possible to translate these into embroidery design, therefore this being my initial concept.  I want to produce work for a fashion context, designing embroidered fabrics to be applied for garments. I shall use a combination of the machine and hand techniques, using machines such as the multihead and cornely in attempt to recreate my drawings into a stitched hand mark. I am looking forward to the possibilities of this unit, as my aim is to perfect my machine techniques to an industry level as well as experimentation. 

Alwaysallwaysland Review

http://degreeshow.mmu.ac.uk/

GRACE SINDALL | gracesindall.tumblr.com

Focusing upon ideas of matters to do with the body, science and nature; Grace creates experimental
textiles fabrics for fashion. Using key techniques drawn from traditional embroidery, she pushes boundaries in the sense of both material and technique in order to create an 'innovative and contemporary approach', suitable for a high end couture audience.

Similarities that I am able to draw from Grace's portfolio include having alike cliental appeal in the textiles industry ie. designing fabrics for fashion, and also methods of working with embellishment, colour and stitch combined, especially her interesting take on fashion illustrations and mood boards. It became apparent that Grace's work was the most relatable to my style and contextual preferences. Using an embroidery based working, her work was the most traditional example of stitch in the degree show. I was surprised how little embroidery was featured in the show, especially judging by the number of students that chose the embroidery world as their predominant working way. I am fondly motivated/ inspired by traditional techniques, so knowing that it is a concept that seems to be fading out, I am now more than ever determined to bring it into my portfolio and final project.

In regards to my own practice, I can learn a lot from Grace. A weakness in my own portfolio is the use of colour bought into my work. I love colour but am sometimes afraid to use it- usually because of the idea that I may be unable to source material qualities I want in the chosen colours (rubbish excuse, I know).  Similarly, experimentation is another aspect that I really need to explore in this final year. Grace shows through her portfolio collection that clashing-yet-complimenting colours and materials can hold qualities of beauty and originality- two aspects needed to be successful in such a fast-paced industry.

AMELIA ANNE ASHLEY | BA (Hons) Fashion

Over the past year through extensive research, discussions with my personal tutor and taking a step back and reviewing my personal influences, it appears that a fashion context is where my work is heading. I am not interested in the garment making side of the fashion industry, rather the process of technique, embellishment and fabric choices. First spotting Amelia's work at the Graduate Fashion Show, and then through further exploration of sketchbooks, look books and speaking to said in person, I realised how interested I had become in the technical side of the production of clothing. I am interested in the fashion ways of working, very much alike to textiles- research, concept, development, experimentation, final product/ garment creation.

Initially it was Amelia's final collection that caught my eye, however after further exploration, I was most impressed with the concept behind her work, a simple theme sparked by influence from a holiday. The ket themes explored within her project included construction and structure- two aspects that I have been researching into for my third year project- using fabric manipulation and layering to create texture and structure in my portfolio work. The qualities of pleats, construction, manipulation, all interest me, and are apparent in the clear development process of her work.

I would like to produce a look book at the end of my project; Amelia's was beautifully presented, with high quality images and a simple layout. Use of colour was minimal, using a monochrome based with the added interest of neon, a simple idea that completely livens the mood of her work. When I look at the portfolio, it inspires me to think more about my presentation, especially through mood board layout and addition of drawing. My sketchbooks rarely contain drawings/ 'mess', as I am extremely uptight about the presentation of my pieces(!). Again, I need to stop being afraid of experimentation and enjoy the process.

ROSIE GRACE BOOTH | http://cargocollective.com/rosemarybooth

http://www.craftanddesign.com/mmu-graduate-award-winner-2014/

Entitled 'Attracted to the Light', Rosie's practice focuses solemnly on the concept of 'doing'. Using an embroidery concept, she creates a visual response to her repetitive, hand marked drawings; usually focusing on themes such as growth and pattern.

The repetition found in Rosie's work, especially the continuous mark-making produced by repetition, instantly reminds me of a take on my favourite embroidery technique of french knotting. Sequencing her work, and creating a mark 'intuitively, in response to the one before it', shows constant risk and experimentation in her work- alike to a serendipitous outcome. The concept of 'doing', and under-thinking holds an unconsious piece of advice that I really need to take onboard for my final year's work.

At first, I have to admit I didn't really understand the concept, only going off my preferences of minimum colour and the application of circular methods of working. I enjoy the simplicity of using light as a source for her colour palette. Mostly her work is of a grey scale palette, made interesting by the use of material quality. Having a concept/ focus based on fabric/ material weights and qualities, rather than thinking about a final outcome excites me. I like that the pieces respond to the spaces that they are put into, almost personifying her work. I am taking away the idea of repetition and light for my own research, both as interesting concepts and both (hopefully) bringing something interesting to my personal identity.

MSA Graduate Fashion Show

http://www.art.mmu.ac.uk/2014/fashionshow

This evening I attended the Manchester School of Art Fashion Show. Through out my past units I have discovered that my work is firmly set in a fashion-fabric context, and now is the time to explore this field in more depth; in order to expand my knowledge for my upcoming projects.

The three students' line ups below were chosen as they each hold appealing qualities towards the context that I can see my work heading towards. Unconsciously, the examples reflect my own style of work- embellishment, layering, contrast of fabric weights, repetitive pattern. Comparing the three, similar colour palettes are used in every collection- yellow being this seasons' prime tone (as featured on WGSN). In fashion it is essential to keep in touch with upcoming season trend and colour forecasting. For my summer project I am predominantly focusing on improving my colour knowledge through colour/mood boards and fabric  sampling.

ROSIE FOWLER | http://degreeshow.mmu.ac.uk/2014/RosieFowler/

SAMANTHA NEWTON | http://degreeshow.mmu.ac.uk/2014/SamanthaNewton/

CAT POTTER | http://degreeshow.mmu.ac.uk/2014/CatPotter/