Practice Unit | Evaluation

As the Practice Unit has unfolded, I feel that my work has finally begun to develop in the direction I've been hoping for. My concept was to explore sustainability within the interior textiles market, whilst also further developing my skills as a designer and hone in on preferences and strengths.  I wanted to ensure that I used the opportunities I had, to create a strong collection of samples for my portfolio, yet also learn the new techniques which I'd not previously managed. 

Bradford Collection

For the first project of Third Year, I'm relatively pleased with how the work evolved. I feel that overall, I managed to further my knowledge in various areas hugely, yet I was unable to create the samples that I had in mind. Working with the linen was thoroughly enjoyable, but I had a lot of difficulties understanding how to produce the ideas in my head, and due to this I'm concerned that my samples are too simple. 
On the other hand, I do feel that my collection portrays the natural concept well; the linen and chenille compliment each other well and the colour palette is a strong representation of my initial research.
My awareness towards sustainable textiles has grown enormously and from using this project to focus on the environment, it has confirmed my passion for sustainable interior textiles. This area has definitely made me stronger and more certain with what I want, as a designer.
I found threading up on block suitable for this project however for future ideas, I think it may be too restrictive. I learned that I struggle when working with a patterned warp, no matter how simple it may be, and so in the future I want to work with one colour warps, to allow me to be as playful as I want with the weft.

Overview of the complete collection and close up of a selection

Visualisation of sample submitted for competition

Dash and Miller Collection

I started this project by reflecting on what areas I struggled with or elements I didn't achieve during the last project, so that I could work from them during this project. There were many highs and lows, but in hindsight I feel that I worked well with the negatives and as a result, have developed hugely as a designer.
From the feedback I received at the end of the Bradford brief, I felt it important to challenge myself by working with fine yarn, to compare the difference with previous projects. Initially, this was a huge struggle for me. I started with an organzine warp however due to the severity of its weight, I changed to working with 2/80s cotton in silver, and in the end I really enjoyed it. Using a structure such as extra weft, allowed me to translate my ideas into woven fabrics in the way I've always hoped yet never managed to achieve.
I loved the more adventurous and creative element that the fashion aspect provided, experimenting with embroidery was exciting and a novelty, however completing this project has confirmed that I definitely see myself in the interiors market.

Jacket collection designed for Peter Pilotto

Michael Kidner Collection

The Kidner brief has by far been my favourite and most successful brief, throughout this unit. It has allowed me to incorporate my passion for sustainability, whilst also further develop my understanding regarding extra weft, thus producing samples that I am proud of. 

Colour is so important to me when designing, it was intriguing for me to approach it with an alternative outlook and exciting to see how the work evolved.
I worked with a combination of embroidery threads and 2/60s cotton, as well as the same cotton warp as before; I'd enjoyed it so much previously and wanted to produce a fine yarn based collection. Doing this allowed me to strengthen my understanding of extra weft and develop my practice in the right direction, as much as possible.

Visualisations of samples as upholstery on sofa

Overall, I'm really proud of how far I've come since September. I've been able to not only develop my skills as a designer, but also focus on what is important to me and what areas I want to continue. I'm looking forward to experimenting more during Unit X, in terms of extra weft and sustainable upholstery - for the first time, I feel confident in where my future is going. 

Practice Unit | Michael Kidner

Design Development

Recently, I've spent a lot of time away from the loom and experimenting with the designs I want to produce. I find it a lot easier to play around with concepts on Photoshop, before getting onto the loom, so that way I know what I will weave. I've enjoyed working with my designs and understanding what colours work well together - it's important to me that the colours are striking and compliment each other, yet in a contrasting way.

I've learned that mixing the unusual makes a statement. For example, green and red are complimentary colours and therefore create an illusion, however by altering the tine and using pink instead of red, the contrast is increased further. I've really enjoyed discovering my own colour combinations and I'm looking forward to see how they look when woven!

Designs created using Photoshop - bold, striking, contrasting, simple

Context | Visualisations

Having finished my time on the loom, I feel it is important to experiment with visualisations, so that I am clear regarding the context for my work. Throughout the project, I've been designing my samples with the idea of upholstery in mind, however now I have woven them, I am unsure whether this is the correct area for them.

Sample two as upholstery on an armchair 

After seeing my work displayed on an armchair, there is an element that I'm not completely happy about - is it the fact it's upholstery or is it the chair? I decided to explore this further by changing my route and experimented with my work as a rug. It is obvious that my samples are statement pieces, therefore I've always been interested how they would work as a one off decorative item. 

Sample three as a rug - image from The Rug Company

I feel that this works slightly better than the previous option, however I think the designs are too dramatic at this scale. I think I still prefer the idea of my work as upholstery, therefore by changing the furniture, I hope the two will compliment each other.

Before settling on my final visualisations, I discovered a chair designed by Bros Bouroullec, called the Alcove Chair. Finding this item has made me consider the 'statement' aspect of my work; I think it would be interesting to upholster my work on a piece of furniture as unusual as this chair, to not only make a statement but also create a reaction. 

Alcove Chair with a variety of upholstery suggestions

I've also spent a little time developing testers on the jacquard; I feel it is vital to further my understanding around this loom, as well as explore alternative designs which can be created on it. A design I created a few weeks ago, caused me to further develop it and see how it responded on the jacquard.

I thoroughly enjoyed using the jacquard! It is a process I want to use during Unit X, so it was important I was aware of how to use it now, as well as see the fabric I was able to produce.  Given time, I think I could further develop some of my final samples using the jacquard, and create an alternative collection of upholstery!

Michael Kidner | Influential Practitioners

Sally Greaves-Lord

Window Installation - Issey Miyake

Sally Greaves-Lord is a British Textile Designer and it is her window installation for Issey Miyake which I've found great interest in. She has proved to me how important the combination of colours can be and how you don't have to over complicate things to get a reaction. I've found a similarity between the way she has broken down her work and the way I'm splitting up mine, however I particularly like how she has only used 2 blocks on each fabric strip. 

Suzanne Cleo Antonelli

Antonelli is a graphic designer who, similarly to me, uses simple shapes to create effect.

Discovering her work has allowed me to consider creating samples which have two sections with different designs on them. I can experiment with altering the background colour, the shapes and the size of the blocks. Do the blocks need to be equal in size or different...I'm excited to experiment!

Unknown - found on her tumblr

Practice Unit | Michael Kidner

Michael Kidner was hugely influential during the Op Art movement, as well as Bridget Riley and Victor Vasarely. They used colour and patterns to create a disorientating and three-dimensional effect for the viewer. 

[left] Vasarely - Unknown [right] Riley - Fission

From studying their work, I've noticed a common similarity - a simplicity of shapes. In both Riley's and Vasarely's work (as well as Kidner's), it is clear that the focus of their work is on the combination of colours and composition, and I believe this to be important when creating optical illusions. 

In my own designs, I want the focus to be on the colour and therefore by removing interfering elements which would distract from the focus, such as complex shapes, I can ensure that my fabrics portray the concept effectively. I've spent a lot of time developing the shapes I want to use in my work and have decided on a limited number, so not to over complicate the designs. 

When referring back to Michael Kidner's paintings, I was particularly drawn to his Wave collection; incorporating stripes and splitting up his patterns is a simple yet effective way to experiment with the composition and play with the audience's eye. 

[left] Butterfly Wings, 1966 [right] Red China, 1966

Practice Unit | Michael Kidner

Colour studies | Sustainability

After the lecture with the Kidner family, the one thing which stayed with me the most was how important Kidner believed colour to be. 

'I wanted to approach colour rationally, give it a job to do and let the unconscious look after itself.' Kidner 

Michael Kidner was an oil painter. Having researched into this method of art, I discovered that oil paints are often metal-laden and deliver harsh toxins to both our body and our water supply. Whether Kidner was aware of these environmentally harmful elements or not, I felt it necessary to move his concepts into a more contemporary world. 

At the lecture, his family emphasised the importance of sharing his work with future generations and continuing his legacy. I plan to explore alternative ways of doing this; creating a sustainable collection will allow me to share his art but in a more environmentally friendly way. The final piece will maintain his integrity, yet be influenced and affected by the surroundings (eg. sunlight) and therefore may evolve and change over time. This will add an alternative quality and appeal to the collection. I plan to aim my designs at an interior market, particularly upholstery. 

3 sets of primaries - 1967

I also want to research further into colour theories and make this the emphasis within my work; for the final piece all my yarns will be naturally dyed. 

Colour theory is something I find incredibly interesting - particularly colour harmony; it engages the viewer, provides visual interest and a sense of order. I want to focus on complimentary colours within colour harmony, and experiment with how combinations of colours can create varying effects. 

Dash and Miller | Influential Practitioners

Maia Bergman 

Originally from Argentina and a Central Saint Martins Alumni, the print for fashion designer has transformed womenswear using an abundance of beads. What has drawn me to her work was her use of beading in an erratic way, to produce a beautiful overall pattern.

Graduate Collection - 1granary.com

I think the addition of embroidery into my work is a concept which excites me; it's a great way for me to create the tactile surfaces I envisage, as well as use different beads to represent the intricate details I previously discussed. 

Rebecca Ough

I've also taken great inspiration from past TIP student, Rebecca Ough. Having seen her work progress last year and then her final collection at the Degree Show, I can see great similarities in the way we work. Not only is her work based predominantly around extra weft, she also finds huge inspiration from architectural structures and geometric shapes. Her specialism is in woven fabrics for interiors - a market audience which I'm also interested in. 

Graduate Collection, woven fabric samples - MMU Degree Show 2015

Rebecca has also inspired me to incorporate metallic yarns into my work - I plan to experiment with varying ways to do this, to represent the industrial element of my work. 

Dash and Miller | Peter Pilotto

Peter Pilotto 

When choosing this brief, I felt it important to create a collection for the fashion market. In the past, this is something which I have rarely touched on, however I feel it is vital to show my versatility as a designer, as well as push myself creatively. 

[left] Spring 2013 [right] Fall 2014 

The brand I have chosen to create a collection for is Peter Pilotto. I find the patterns and designs in their work similar to my geometric style of designing, however what originally caught my eye was the clashing of patterns, striking colours and contrasting element in their work - a strong link to my work. Their market audience is high-end catwalk - a context similar to my own practice. 

Practice Unit | Dash and Miller

During the Practice Unit, it has become even more clear the importance of engaging in live briefs and creating connections with current designers and companies. 

Collection of Dash and Miller fabrics - pinterest

I've always been hugely inspired by the work of Dash and Miller; since completing an informal interview with Juliet Bailey for my dissertation, it was fascinating to learn the story behind the business and have an insight into a successful woven design company. 

In order to develop my work further, I've chosen to continue with my source of initial inspiration from my previous project; I've been drawn to the colours in the environment at this time of year and want to discover nature's beauty and designs. There are so many intricate details and organic shapes which are often ignored, therefore I want to emphasise these in my work. 

Own images - initial research, photos to provide colour scheme, colour palette development

[left] Both images of my own, studying patterns found in nature [right] Coral photograph - Hila Kaminer, Collectif Textile

I've spent a lot of time conducting research and taking photographs, to give myself a wide variety of information to work from. By focusing on individual areas of the environment, I have discovered organic shapes and patterns, as well as textures, which I hope to portray through my own work. 

I've decided to restrain myself from putting sustainability as a priority in this project; I want to use this brief to learn new techniques and hone in on what areas of weave I particularly love. It is important I focus on my skills and develop a depth in the skills I want to continue into the future. For example, I especially want to experiment with extra weft, as it is a technique which I have previously admired and I think it will allow me to portray the patterns and depth of colour, through my designs. I also hope to explore print - whether screen or digital - as I was disappointed I wasn't able to do so for my last collection. 

I want to spend time looking into artists and designers, to not only seek inspiration, but also study which elements I particularly like about their work, so I can learn how to produce the samples which I envisage. In the past, there have always been particular parts of my samples which I haven't been pleased with, and I feel that by scrutinising other fabrics, I can learn the techniques I want. 

Bradford Collection | Influential Practitioners

Josef and Anni Albers

Renowned for his disciplined approach to composition, Josef uses simplistic shapes, whilst constantly portraying the influence of the Bauhaus movement. I'm particularly drawn to his use of intense colours and block shapes, as I'm trying to produce samples with a similar motif.

Josef Albers 

Coincidently married to Josef, Anni was one of the best known textile artists and printmakers from the 20th Century. 

[left] Rail, linen casement by Knoll [right] Black, White, Yellow, silk and rayon wall hanging 

I've found a similarity between the work of Anni's and of Josef's; with an obvious preference towards simplistic shapes, the squares and 'blocks' have influenced my project and changed the way in which I'm drawing and collaging. Rather than creating extremely plain woven samples to later screen print on, these artists have made me question my fluid and organic illustrations, and made me consider portraying certain elements in a woven way. Could I produce samples with minimalistic shapes, but varying colours? Could I use the chenille to represent intricate details found on the seeds, in a similar way to Anni's delicate work? These practitioners have given me a lot of ideas to consider and I'm excited where this could take my project. 

I also think this could be a great way for me to use the past to help me re-invent the old. As proven with fashion trends, moments in history are constantly coming back to life and often with little influence from the modern world...could the Bauhaus movement be the way for me to modernise chenille?

Mae Engelgeer

A Dutch, woven designer, Engelgeer creates extremely simply designed fabrics which really stand out; her use of neutral tones with a splash of neon, simple shapes and experimental composition are exceptionally effective. 

[left] Mode Collection [right] Flock Collection

  

I find Mae's work to be clean and minimalistic, whilst still portraying an organic element in her work. With inspiration drawn from marble stones and gravel, I'm inspired by her use of colour to add a contemporary and appealing side to her fabrics. Her work is aimed at a similar market audience as how I envisage my own; high-end interiors. Her Mode collection is made up of a range of throws and offer a double-sided product - something that I am trying to create with my own fabric. 

Practice Unit | Bradford Collection

Natural Dyeing | Colour palette

A strong focus in this project are the processes the yarn goes through, before it is woven. I've chosen to take my colour palette and inspiration from plants and vegetables I studied, whilst in France. I want to have the source of inspiration as a constant stream through this project. 

I've taken a lot of time experimenting with natural dyeing; I've learned so much regarding which plants work best, as well as the science behind the concept. I feel proud with the end result, knowing that I've grown/locally sourced the dyestuff, mordanted the fabric, prepared the dye bath, dyed the fabric and disposed of the waste, all in a sustainable way, with no harm to the environment. 

[left] naturally dyed linen samples [right] colour swatches and testers for palette

Structures | Weaving

I've chosen to work with a fairly simple and restricted colour palette; I feel this is important when trying to portray a natural theme. I'm working with 2/20s bleached linen which I've dyed using red cabbage and pomegranate seeds, and threaded my loom up on block - this will allow me to easily distinguish contrasting shapes and separate areas. 

After my tutorial with Lesley, I've found the concept of reinventing the old really interesting; she explained how subconsciously I've been incorporating so many traditional techniques into my work, but with a more current and contemporary outlook.  

Contrasting weft yarn 

When considering how I want my final samples to feel, I think I need to introduce another element into my work, to allow the fabric to feel softer and more luxurious. From market research, bedspreads and throws stocked at stores such as John Lewis, are often either knitted or contain a yarn which ensures the product will be comfortable to use. 

Whilst in the studios, I discovered an Italian yarn made from a viscose and wool blend, and it has led me to consider working with chenille. Using a yarn such as pre-dyed chenille, will provide the textural and luxurious aspect to my work, as well as creating a contrast against the natural linen. I also believe it is a way for me to push the idea of 'reinventing the old' - chenille is often seen as quite dated within textiles and I think it will be a challenge for me to dispose of this image. Companies such as Fabricut are already producing fabrics with a refreshingly modern take on chenille, by tightly weaving the yarn and adding a contemporary colour scheme.

Fabricut - 'Mood' collection

Practice Unit | Bradford Collection

Sustainability

Throughout the Practice Unit, I intend to create collections surrounding Sustainable Textiles within Interiors. I understand that it is an area that is becoming increasingly important within the fashion industry, however there doesn't seem to be the same awareness towards sustainability in the interiors market. Through extensive research and sampling, I hope to understand why this.

Sustainability in Textiles is an enormous area to focus on, so my initial starting point will be the dyeing processes. 

Synthetic dyes have become the go-to option; they have strong pigmentation, endless colour options and are easily taken by the fabric. From reading an article in The Guardian, I discovered that until last year, the toxic effluent from dye houses around the World, could often be seen flowing through rivers and chemically damaging the surrounding areas. As a result of this, companies such as DyeCoo and AirDye have started to produce waterless dye technology, in the hope it will reduce the amount of wastewater and pollution. 

Inspiration | Initial Research

Having spent the majority of my childhood growing up in the French countryside and being surrounded by the organic environment, I've always felt very inspired by the earth and the beauty within nature. After spending a fortnight in France over the summer, it enabled me to gather my visual research and confirmed that this would be my starting point for my Practice Unit. 

For the Bradford competition, I aim to design and produce a collection of fabrics that explore these areas of research and will be aimed towards an interior-based context, particularly high end. 

Own image | Vegetable garden in France

I want to further develop my understanding of the processes used when naturally dyeing fabric, as well as take a lot of time and consideration when choosing my yarn. I understand that the yarn plays a vital role when discussing sustainable textiles, therefore I want to spend a lot of time on this. I want my colour palette to be clean and professional, whilst also demonstrating the organic elements in my work. I hope to experiment with printing and explore ways of adding textures to my work. I intend to continue exploring my ideas through an experimental approach, to allow me to not only develop a strong understanding within this area of textiles, but also create a solid collection of work, portraying a broad range of abilities for my portfolio. 

I have spent a lot of time researching other companies which work with similar morals as my own. After contacting Whaleys Bradford Limited, I have discovered various fabrics created using 100% natural fibres - bamboo, pineapple, flax, however I believe linen to be the most suitable for this project. Alternative natural fibres can be extremely expensive, and although I'm aiming my collection at a high-end market, I want this to be shown through the quality of the fabric and not just the price.

I've also sourced other fabric samples from various companies, to help decide what sort of density I want for my fabric, and learn how linen works when combined with other natural yarns. I've discovered that linen works best when mixed with cotton, as it helps to soften the fabric - this could be something I consider using later on in the project?