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
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.
