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!

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 | Dash and Miller

A new addition | Facades 

Having discovered the Bosco Verticale and work by David Foster Nass, I came to realise that I needed to introduce some of my own architectural imagery into my designs. Previously in this project, I have researched contemporary buildings around the World, however to allow me to increase the contrasting element and truly emphasise it, I need to discover my own architecture. I spent an afternoon wandering the streets of Manchester, in the search for contemporary buildings, unusual architecture, facades which stood out from the landscape, as well as contrasts between nature and the city. 

Own images - architecture around Manchester, harsh lines, blocks, linear, geometric, combination of nature and urban landscape

Since collecting these images, I have discovered that there are also many details within the images which correlate with details found in nature. For example, the effects found in water droplets are similar to the lights or reflections in windows. I hope to portray these details in my work, using a variety of techniques.  

New techniques | Digital Print

I've spent some time away from the loom recently, to give myself the space to develop other aspects of my work. From the images I collected in Manchester, I've produced a range of digital prints on cotton, which I think have been a huge success! It's been interesting to see how my designs work on fabric, but also use techniques on top to add certain details. 

I've loved playing around with other areas of textiles, such as embroidery and print, and I think it's helped me be more creative and playful with my work.

Selection of digital prints

Dash and Miller | Influential Practitioners

Andy Goldsworthy

Goldsworthy has provided me with an additional outlook on my work; as an artist who uses the environment as his medium, he once said

'I can't edit the materials I work with...my remit is to work with nature as a whole.' 

Nature Rainbow - Andy Goldsworthy

I want to try my hardest to maintain the art which is found in nature and translate it closely into a woven fabric. 

David Foster Nass

'Urban Nature' - pinterest

David was a photographer I discovered recently and I was instantly fascinated but the stark contrast between manmade and nature. Why is there such a contrast? 

His work made me question whether it was possible to find a way to combine the striking elements found in both nature and architecture to create a fabric. 

Bosco Verticale

'Bosco Verticale' is a pair of residential towers situated in Milan, designed by Stefano Boeri, Gianandrea Barreca and Giovanni La Varra. The concept was to design a building which housed trees to help mitigate the smog and produce oxygen, whilst also eliminating the 'eyesore' image which buildings can often be labelled with. 

Bosco Verticale - flickr

This piece of architecture has helped prove to me that when combining nature with urban properties, the outcome can often be very beautiful. 

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