Category Archives: Coursework

Assignment Two

Stitching: Placed and Spaced

ASSIGNMENT TWO

Stitching placed and spaced

THINK……

A sense of repetition.

 Variety of scale.

 A placement design.

Frayed layers and torn textures. Use different fabrics, lace and mesh. Trap flowers between layers.

Surface qualities and colour…..I want to refine what I have made so far in part one and two, I would like to find a more delicate approach even though fragile, frayed and worn will continue to be present in my theme.

Source fabrics and lace to try out different surface manipulation.

Look to transforming recycled garments “ Make-do and mend”

Consider transforming old cotton shift…maybe dye?

Look to flowers and folk art

‘A Mid Summers Dream’

‘The May Queen’

Time passing….. Spring/Summer to Autumn/Winter.

Maybe patchwork windows could inform this journey??

I like the idea of working small to begin with and then joining all the pieces together to make a larger statement.

Individual small flowers for trapping in windows through to autumn leaves.

Think about the direction of stitch also and the marks made with the thread.

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PROJECT TWO Drawing with stitch

Exercise 2.3 Drawing with stitch onto paper.

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Looking once again at my six chosen drawings I start to think about the overall energy and appearance they portray, I need to translate this energy and feel into stitch, I don’t think this can be achieved by using conventional thread or by using a sewing machine. I want my stitch marks to be fluid, transient, fragile. The language of the lines need to be harsh yet have an undertone of translucent delicacy. The stitch lengths need to be varied, they need to evolve as they work with the papers, I want layers on layers, twists and turns, sparkle and adventure, I want to begin and let the outcome evolve through the unexpected.

Before I begin to sew my substrates I need to choose threads and decide on which papers I feel worthy of moving forward. I have added some of my preliminary sketchbook pages below showing briefly the path I followed to achieve my finished samples.

Playing with stitch shape and form by just scribbling onto little cards.

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Adding colour and different surface textures to my initial black and white scribbled stitch ideas really brought them to life. 

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MY FINISHED STITCHED SAMPLES

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EXERCISE 2.4 DEVELOPED AND COMPOSED SAMPLES

After evaluating the successes and some failures of my small stitched samples, I would like this processes now to inform two of my completely new drawings. The first drawing I have chosen is my simple shapes of leaves with dappled backgrounds, there is a feeling of movement and sunlight coming through the trees and this light and movement is one which I would like to inform my first larger sample.

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Here are my sketch book ideas leading up to my first finished sample

Very early on I decided I wanted to use the sewing machine to stitch this larger sample piece. I found that I could not achieve the fluidity needed to capture the movement I required to portray. I began experimenting with different widths of zig-zag stitch. As I sewed the thread, caught and tore some of the paper, I think this effect added to the overall success of the finished piece. I took this tatty zig-zag and applied it to my experiment with making leaves. I used tracing paper stitched to a plain paper backing for stability, once I had the outer edge sewn I cut away the middle backing paper to allow the leaves to become translucent before stitching the centre veins.  I then waxed and painted each leaf using a sponge dipped in water colour paint as the paper became wetter it distorted and curled up at the edges, I then screwed the paper up and unscrewed it a few times, ripped away the outer edge and found that I had a really life like leaf! The sheet music incorporated into this drawing is for the sound of the trees when the wind blows through them.

FINISHED SAMPLE ONE

“Hold me to the light, handle me and hear the rustle of Autumn approaching”

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Before choosing my second drawing to take forward in this project, I began to play around with layers and stitch ideas using my iPad ( procreate app)

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This ipad drawing I went on to try and capture the same free form style of sketching but using the sewing machine. The needle kept sticking in the paper and distorting the stitches causing a tatty spider like edge to the sewing. I quite like this detail but I am not sure my sewing machine felt the same way.

For my second drawing to develop further I have chosen the collage that I made of my ‘ Tatty old bag’ Here are some of my sketchbook development pages below showing my initially ideas to inform this sample.

I decided to go with my Summer colours from part one and I wanted to continue with the feeling of fragility, The original bag has many layers and textures and a few holes. I wanted the holes to become window.

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FINISHED SAMPLE TWO

‘A well traveled bag’

“I am delicate and frail, my holes are windows of time past and places I have been”

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PART TWO

PROJECT ONE

CREATING SURFACES

Reviewing my folio of drawings and looking back over my work I can see that I have made a progression forward from the harsh black and grey lines and marks that i first laid down onto paper into a softer approach.

There is a need within me to achieve the delicacy and transparency of layers and this begins to show in my softer, warmer style and approach. I feel that I begin to add strength and depth but without heaviness.

I started in my sketchbook to experiment with different media, textures and colours onto soft and transparent papers and found the outcomes , mainly the ones achieved by accident, to be the most exciting. Looking now over my folio of work brings out mixed emotions that show through in the marks that I made. Perhaps the essentially heavy and strong marks using black pen and gouache are an expression of my lack of use of colour. I can see that I relax into project three and burst out into colour at last, my marks become softer and I experiment more with layers. This soft delicate layered approach is one that I would like to push forward and develop further. 

Exercise 2.1 Selecting

Having laid out all of my artwork from Part one I have now chosen the six pieces which I feel to be the most exciting and which I would like to broaden their development at this time. Each has interesting visual qualities of depth, layer and texture whilst they still retain a delicacy, even though some of the marks are quite strong. These six pieces which I have chosen have a good variety of marks giving me plenty of scope to push forward their development potential.

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EXERCISE 2.2 PAPER MANIPULATION LIBRARY

Thinking about the qualities of substrates and base materials and surfaces I want to use to translate the qualities and elements of my drawings, I have listed a few below.

Tracing paper. Watercolor paper. Tissue paper. Kitchen paper. Polythene. Recycled papers.

All papers used will have a quality of softness, event though they may start out quite ridged and harsh, other papers I am using will start out crisp and be manipulated to be more playable and soft.

STAYING FOCUSED 

I am finding that by referring back regularly to key words keeps me focused on the over all feel I am wishing to portray through my paper manipulation.  Sharp, Frailness, Delicate, Translucent, Fragile, Soft, Pliable, Light, Layered. To also keep my thought process I have pinned all six chosen pieces of art up onto my pin board along with some experiments with paper that I tried out in part one, which I feel are worth pushing forward into this project ‘creating surfaces’.

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Below is a list of the techniques I have chosen to manipulate my paper samples. The brief asks me to chose three…..I’ve chosen 19 ! Not because I find it difficult to select but because I truly feel many of these process will blend into one-another to achieve the outcome I am looking for.

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MY LIBRARY OF MANIPULATED PAPERS

In order to recall the process of manipulation used on each paper I have begun to keep a 10 x 10 cm swatch of each in a sketchbook listing all the processes. The outcome is wonderfully not only is it necessary technically but it allows me to connect, feel and identify with each of the substrates. 

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KEEPING A RECORD

Laying out 10cm x 10cm square tiles to see how each paper sits with the next and to refresh my mind on the overall feel I want to project. I have kept to white only to begin with.

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Moving on to colour I have found so much more scope in portraying the feel of delicate and translucent, colour adds and highlights fragility. I intend to use these coloured papers and textures as layers to be stitched onto my white ground to add further texture and depth. Swatches and notes of each processes have been added to my wonderful library of substrates.

 

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Project 3

PICKING AND PORTRAYING

What do I believe drawing to be?

I believe drawing to be a way of transferring ones thoughts from inside the mind onto a two dimensional visual media for all to see. This can be anything from using a camera to building a collage, I think that once a concept becomes three dimensional then we cross over into ‘making’. This is a fine line and one I may come back to later with a change of view point. There are many forms of drawing for different end uses, for example technical drawing, architectural engineering and visual planning for interior design and gardens along with analytical drawing as well as the individual artistic approach which has endless forms.

 

 

RESEARCH POINT 2

Jane Askey

Contemporary still life artist influenced by the decorative objects she sees on her travels. Jane’s background is in textile design and this shows through in her fresh use of colour and detailed decoration. She uses mixed media and gouache. The floral theme which is dominant and recurring in Jane’s paintings flow in much the same way as a collage does, through all of the fabric, paper and objects carefully placed together these begin to tell a story and give a sense of time and place.

Inspired by Jane Askey’s art has lead me to reflect closely on my own choice of colour and placement and how this informs the very narrative of my work.

I have chosen five of Jane’s paintings as examples below. The first one  ‘Pink flowers and Polka Dots’ is my favorite. The aqua colours as a background to the bright pink flowers give me a sense of a beautiful warm spring day, the flowers are placed casually in different vases onto the table and the sketch lines are fluid and relaxed, I can imagine sitting at this table drinking a glass wine and the bees buzzing away in the background.

I wanted to gain a closer insight into the colour pallet that  Jane Askey’s has worked with on the below paintings. The colours have been pulled from the various areas of her  artwork by using the dropper  tool in ‘Photoshop CS.’  They are not perfect match colours as there are many variations within each colour when using this method, but they are enough to help me analyse and see how colour has been used. This method of analysis helps me incredibly within my work.

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I always seem to be adding black line to my artwork and this can look harsh when I want my drawing to have a delicacy and  flow of the pencil line. I now see that by analysing Jane’s painting below ‘Pink flowers and polka dots’ that the pencil line can be very effective when drawn with soft colour of line.

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Tord Boontje

Tord boontje is originally from the Netherlands. He is also professor and head of design products at the royal college of art.

“I am interested in creating elements for everyday life that are exciting and uplifting to live with” (Tord Booontje)

Tord’s designs are not only one off pieces which can be found in major museum collections around the world  he also designs products for the mass market, beautiful household pieces such as tableware,lighting, furniture,fashion, jewelry and accessories. which can be found in his online shop http://www.shoptordboontje.com

I find Tord Boontje’s work a ‘Fairy tail’ each piece is absolutely enchanting and it draws me in to a wonderful world of fantasy, I am either in a enchanted forest, winter wonderland or a sunny meadow. His designs using leaves, flowers and animals are so intricate, delicate and detailed, yet each shape when studied  individually is actually quite simple in form, once each element is placed together and intertwined the story begins.There is a almost a ‘Folk Art’ story telling feel to each piece he designs a example of this is in his ‘Table Stories’ range of tableware.

“Table Stories is an extensive collection of porcelain and glass tableware filled with drawings of flowers, deer, squirrel, birds, bear, butterflies, horses, bunnies and a peacock. The animals and flowers seem to merge and to grow out of each other. Some of the elements are hidden inside the patterns. Over time you can discover new elements while eating” (Tord Boontje)

I have pulled out a few images of  Tords  Boontje’s work, concentrating on the floral and leaf aspect of his designs. Not only do these pieces speak to me, I also  feel by studying there shape and form this will help me in the development of my own future work.

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Erdem Moralioglu

Erdem is a ready to wear label that portrays a very powerful essence of femininity,it was established in London 2005 by Erdem Moralioglu who trained at the Royal College of art. Not only does Erdem Moralioglu have his own flagship store in London’s Mayfair he also has an online e-commerce store.

The collection that I have found myself most enthralled by is his  Pre-Spring 2017 collection. This collection was born out of a visit to Japan. The 1930s style is an era I particularly like. Erdem’s East meets West cross cultural feel is challenging on the eye and mind. flouncy floral maxi dresses sit along side military jackets and coats, these military pieces being embellished with flowers and jewels. ‘Make Love not war’ styling.

There are four particular aspects of this range that inspire me. 1;The bold floral embroideries and prints of blossoms and large blooms, there strong whites and blues against the backgrounds they sit onto.

2; The tiny jewel details that embellish the collars and pockets adding femininity to what otherwise would be a masculine look.

 3, The embroidery of tiny flowers and blossom onto  leather. and number.

4; The repeat swirls of the daisy chain prints.

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EXERCISE 1.7 Sources and Media

COLLECTING FLOWERS & LEAVES.

It all began with a walk in the woods after researching Tord boontje and being influenced by his description of how he came to design ‘Mid summer Light’ 

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Midsummer Light.

http://shop.tordboontje.com

“Seeing sunlight coming through the leaves of trees during a walk inspired the Midsummer Light” ( Tord Boontje)

So I began also with a walk through the trees at a local Chateaux near to where I live. ‘Chateaux Beaulon’ Which has beautiful grounds and was perfect for my collecting of leaves

COLLECTING FLOWERS

DECIDING ON THE MEDIA

The media I have decided to use for this exercise is acrylic paint, watercolour paints and collage. I have also decided to experiment with digital Ipad art using the app ‘Procreate’.

I have chosen two colour palettes that I wish to work with:

Spring Summer

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Autumn Winteraw-colour-palet

I also collected many pieces of fabrics and papers concentrating on the Spring/Summer colour palette for use in my collage.

Reflecting back to drawing my archive textiles and after constructive feedback from my tutor I have chosen four pieces from my initial mark making/drawings which I feel that I would like to explore further and will include in my ten drawing at the completion of this project.  These I have chosen for their depth of texture even though they were produced using simple mark making I feel they were very effective.

Hazelnut leaves with Gouache      dress-3

Diagonal zigzags with depth and layers      img_6973

Starburst using cotton buds      star-stitch

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RESEARCH POINT 3

David Hockney.

I found the digitally  produced artwork of David Hockney’s the most interesting, his earlier works do not really appeal to me, however once I came to his digital artwork of Yosemite Park in America, and he drawing of Yorkshire these began to interest me. I found them vibrant and exciting to view. His Ipad artwork has introduced me to a whole new world of drawing and painting and having now downloaded the app ‘Procreat’ onto my own Ipad I am now converted if not a little bit addicted. I am not allowed to post any of Mr. Hockney’ images onto my log due to copyright. however you can see his work at http://www.hockneypictures.com

My attempt at Digital artimage

EXERCISE 1.8 Portraying by Drawing

For this project I have chosen to be experimental with mark making, choosing a lighter, less heavy approach that I have used previously.

  • I decided on two colour palettes to keep me focused, Spring/summer for the flowers and Autumn/winter for the leaves.
  • I looked to use and experiment with a wider variety of delicate paper and colour.
  • I have chosen two types of paint, acrylic and watercolour. Acrylics are good for stamping and achieving texture and watercolour are best to achieve a more delicate translucent appearance.
  • I have tried very hard to keep ‘black line’ to a minimum and looked to a softer and more delicate appearance.
  • I began to use digital art for the first time using the app ‘procreate’.

CONSOLIDATING MY FOLIO OF DRAWINGS

Laying out my work from the whole of Part One I have now chosen my ten pieces of work which I feel represent my journey through this project and are the strongest pieces which I would like to progress further with.

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Collage, ripped paper and ribbon.

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WRITTEN REFLECTION

I initially chose my archive pieces because they all link together well visually, their connection being that they are all embellished pieces with each item being a mixture of   bead work and applique, delicate and soft in look yet mixed with a harsh and scratchy feel which comes from the lurex thread and sharp edges of the glass beads in complete contrast against the soft silk base of each archive piece. I felt this gave me a lot of scope for experimentation with mark making.

During mark making 1.3 I tried to portray the weight and texture of each item by various experimental mark making techniques. Out of the three pieces that I produced for 1.6 the ones I felt the most exciting to be were the quickest to produce, for example a cotton bud dipped into acrylic paint pressed down onto paper achieved the detailed embroidery stitch of a star like flower. I am very happy with this result.

During exercise 1.4 I began to explore the shape and form of my archive and I began to relax my approach towards drawing. Exercise 1.5, collage and creases, I found quite challenging, I spent a long time on my collage and it seemed a slow process but with the progression of the layers it started to take on a 3D appearance, and all of the tiny bits of paper which I had painstakingly ripped up became worthwhile.

Once I began project 3, picking and portraying, I feel my work begins to take on a rapid progression. Having researched the nine artists work in reference point 2, I chose three artists that I felt helped greatly in my choices of how to tackle this project. All of the artists made think about adding a lightness and prettiness to my work and to look more in depth at shape and form without using the harshness of black pen lines to define the piece. Also it helped me to evaluate shape, form and colour. Jane Askey influenced me on my choise of colour and how colour sits together. Tord Boontje, on simple pretty shape and form and Erdem, on bold yet very pretty florals.

This research has inspired me greatly in my approach to project 3. As I am a designer and not a fine artist by nature I have always worried that my abilities with perspective and technique has let me down. I am now beginning to realise that a personal interpretation, flow and colour are equally as important and I am starting to relax a little on my journey to finding my personal voice.

David Hockney and Katie Sollohub introduced me to digital drawing on the Ipad, and this has opened up a whole new and exciting avenue for me. My ‘drawing a day’ has begun and already I have began to notice a progression in my style. I also now use this method for notes and scribbled ideas.

PROJECT 1 SELECTING AND IDENTIFYING

PROJECT ONE. SELECTING AND IDENTIFYING

My definition of ‘Textiles’

In the broadest sense a textile is something that forms a function to either cover or protect, it is a collection of fibers linked together in some way to make a larger surface area, which can then be manipulated, cut, sewn or glued to serve its end purpose.

A textile is something that can be decorative or plain depending on its intended use whether it is to be industrial, domestic or medical. Fibers can be synthetic, natural, or animal derived.

I tended to think of textiles only in the sense of the decorative for home furnishing and fashion but after thinking further about this question “what is the definition of textiles” I find myself questioning many other products around me in my daily life that I take for granted…is the rubber seal around my car window a textile? It is after all made from fibre bonded together and manipulated. What about when broken arms used to be covered in plaster of Paris to mend them? The plaster set over crape bandage and molded, when this was taken off the arm it retained its shape and form. I think a Stone is not a textile, but once it has had a hole drilled through it and then liked with other stones by a thread or even wire, does it then become a textile? A plastic bag can be made into a coat, and so can many other materials that I wouldn’t think of as a textile. So the more I think about this question the more my thoughts blur and I can only say that I think I had better say I need to keep an open mind on this, and maybe come back to it quite a few times as my opinions develop during this course.

.Can Textiles have Stories and Narratives.

Yes, all textiles tell a story. I love second hand flea market buys, I am drawn to the texture that time shows in a fabric. I tend to buy linens and cottons and these so often show a history of whether they have been boxed away for best and over time yellowing at the folds or whether they have been used daily showing bobbles and sometimes a little careful mending. Vintage clothes tell fabulous stories of love affairs, tea dances, weddings and special days.

I don’t think I have anything in my home be it a lampshade, bag, a garment or a bed throw that doesn’t bring back a memory to me of where I bought, the year, what I was doing at the time.it or what I made it from. If I made it which is normally the case it usually had another life story before I cut it up and recreated it into something else. Most of the textiles in my house have at least nine lives. Here are two examples.

  •  Dining room curtains. The main bulk of the fabric I bought going cheap at a market, the fiber content is linen with an embroidery paisley pattern (probably originated from India). I intended to make it into curtains at my previous house before this one, but instead they remained in a bag and boxed away for a few years before I discovered the fabric again once I moved to France. There wasn’t quiet enough fabric for the size of curtains I needed for my windows so I cut up an old table cloth and added this, to create the length, the trim is hand made from China and imported about fifteen years ago for my fashion accessories practice and again has sat boxed away until now waiting to be re discovered.

 

  •  Patchwork quilt….still in the making. I discovered this quilt after my Mother passed away amongst her many sewing things and this patchwork tells so many stories! She started it back in the 1970s and it is made from entirely old bits of cotton dresses we both wore and also I recognise some of the designs from flower power ties my little brother had. He was about six and wore ties on elastic in bright pink and turquoise flower designs. Mum always made my dresses and I have memories of them all and the excitement of a matching headband was immense. The prints are of all colours and mainly flower designs, a real statement of the time. Each hexagon shape is hand stitched onto magazine cuttings which seem to mainly be from an old high way code book. It was around this time Mum was learning to drive,  believe it or not, not many women drove at this time. Each hexagon is then sewn to the next by hand and I remember her sitting sewing this in the evenings, no wonder she didn’t finish it with five children and growing all the vegetables, baking bread and cooking everything herself from Jam to Christmas cake on a solid fuel ‘Rayburn’. Looking back no wonder when at the age of ten I told her I was turning ‘Vegetarian’ she went mad!!I love this quilt, it tells a million stories of wear and tear of my childhood and my mothers life.

THE ARCHIVE  Exercise 1.1

I have decided to choose items for this project from my own archive. I have got boxes of fabric trims, bits of fabric and so many clothes it seemed only logical to take a closer more in-depth look at what I already have. I have chosen three items from my wardrobe, an evening gown a kimono top and a shoulder bag, each of these items is linked by the theme of embellishment and  layers of embroidery, bead work and applique.

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SUBSTANCE and STORY Exercise 1.2

EMBELISHED SHOULDER BAG

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  • It is made from a mixture of fibers. Printed cotton, leather, metal  zip , plastic mirror work, glass beads and lurex thread.
  • There is no label.
  • I remember buying it from ‘Accessorise’ 3 years ago.
  • I would hand wash this textile.

What methods have been used in its production?

  • This textile is woven and then embellished with applique, beadwork and embroidery.
  • It is hand-made although many of its components are machine made, the finishing embellishments such as the bead work is definitely hand finished as well as some of the embroidery. There is no identified maker.
  • The textile finishing methods that have been employed are, machine printing, hand embroidery, leather-work, hand bead-work
  • The textile ground is printed cotton and then it is completely covered in embellishment by hand and by machine.

Where is the textile from?

  • I would guess India is its manufacturing origin.
  • There is no manufacturing label.
  • It is not possible to be completely sure where the fabric is from.
  • I think the whole process of making this textile would have been done in India, from growing the cotton to the printing to the manufacturing of each component.

What problems y is important to be sure the fabric of origin is ethical and to be environmentally friendly.

  • For the missing information I could try an approach the design department directly at ‘Accessorise’ the company designed and manufactured this bag.

STORY

What other visual indications can you glean from closely examining the textile sample? If the textile has been made into a product, what can you learn from further visual examination?

  • This textile is well worn and heavily used.
  • The textile is durable and hard wearing
  • The age is of the textile is about 4 years old
  • There is lots of patina due to wear, not so much age. There are frayed edges and loose threads, the leather is worn in places and a few of the beaded embellishments are missing.
  • There is no evidence of repair or alterations.
  • I know the story behind the life of this textile because it has traveled everywhere with me. It is my dog walking bag, my going out shopping bag and my dressing up but feeling “Boho” bag. It is a happy well loved bag.

Are there any elements of the design, detail, decoration or construction of the textile sample that indicates a story behind the textile product? ( could this be the use of traditional motifs to t-shirt slogans)

  • There are no slogans or motifs used in the design of this textile.
  • This textile is designed to be transient.
  • This textile is personal to me as I love its vibrancy of colour and texture and that makes me happy.

 

EVENING GOWN

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SUBSTANCE

What is this textile made from?

What methods have been used in its production?

  • This textile is woven silk with lurex thread running through the silk to make a design. There is beadwork and embroidery.
  • It is a machine made textile with many embellishments such as the bead and jewel work hand finished. There is no identified maker other than it is designed by Sue Wong.
  • The textile finishing methods that have been employed are machine weaving and  machine embroidery,  hand bead/ jewel-work
  • the textile ground is silk.

Where is the textile from?

  • This garment was made in China.
  • There is a manufacturing label.
  • It is not possible to be completely sure where the fabric is from.
  • I think the whole process of making this textile would have been produced in China.

What problems have you encountered in trying to find out this information?

  • Traceability is important to be sure the fabric of origin is ethical and to be environmentally friendly.
  • By law, manufacturing origins and fiber contend and wash care labels must be added to a garment, these are all sewn into the lining of the dress so I had all the information I required.

STORY

What other visual indications can you glean from closely examining the textile sample? If the textile has been made into a product, what can you learn from further visual examination?

  • This textile is in nearly new condition.
  • The textile is delicate.
  • The age is of the textile is about 6 years old
  • There is only one sign of age and that is a single missing jewel from the centre embellished panel.
  • There is no evidence of repair or alterations.
  • This dress was bought from TK Max. I found it screwed up in a sorry state on the floor at the back of a rail. I cost me £34

Are there any elements of the design, detail, decoration or construction of the textile sample that indicates a story behind the textile product? ( could this be the use of traditional motifs to t-shirt slogans)

  • There are no slogans or motifs used in the design of this textile.
  • This textile is designed to be transient.
  • This Evening gown is personal to me as I love its vibrancy of colour and texture and the way the gold lurex shot through the silk hits the light and shimmers.

 

KIMONO TOP

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SUBSTANCE

What is this textile made from?

  • This garment is made from Silk.
  • There is a manufactures label stitched in to the lining of this garment.
  • I would dry clean this textile.

What methods have been used in its production?

  • This textile is woven and then embellished with applique, beadwork and embroidery.
  • It is machine made, the finishing embellishments such as the bead work is definitely hand finished as well as some of the embroidery and applique. There is no identified maker.
  • The textile finishing methods that has been employed is weaving and dying of the silk,  hand embroidery, hand bead-work, hand applique.
  • The textile ground is dyed silk and then it is embellishment by hand and by machine.

Where is the textile from?

  • I would guess China is its manufacturing origin.
  • There is no country of origin manufacturing label.
  • It is not possible to be completely sure where the fabric is from.
  • I think the whole process of making this textile would have been produced in China.

What problems have you encountered in trying to find out this information?

  • Traceability is important to be sure the fabric of origin is ethical and to be environmentally friendly.
  • For the information missing, I feel it would be impossible to trace where exactly this textile was made as it is now at least 14 years old, I can only guess by using my past experience of manufacturing in the fashion trade.

STORY

What other visual indications can you glean from closely examining the textile sample? If the textile has been made into a product, what can you learn from further visual examination?

  • This textile is in nearly new condition.
  • The textile is delicate.
  • The age is of the textile is about 14 years old
  • The only wear and tear is one or two missing beads.
  • There is no evidence of repair or alterations.
  • This garment was bought by me from Harvey Nichols around 14 years ago.

Are there any elements of the design, detail, decoration or construction of the textile sample that indicates a story behind the textile product? ( could this be the use of traditional motifs to t-shirt slogans)

  • There are no slogans or motifs used in the design of this textile.
  • This textile like all fashion is designed to be transient, except that when I buy something  I tend to keep it forever and sometimes give it a new life into something else after wearing it several times.
  • It is personal to me as I love its.

Nostalgia is a recurring theme in textiles and within the broader sphere of design and art. Textiles have special role play, as we can attach memories, experiences and sensations, particularly to wearing of textiles or there close proximity.

I feel a great sense of nostalgia about the three items that I have chosen but I am like that about everything I own. I collect and hang on to everything, be it clothing, beads or furniture in my home. I just connect with things that make me feel good and I make a conscious effort to part with anything that doesn’t make me feel emotionally happy.It was a very conscious decision to choose these textile for my my three items as each piece has so many elements of visual interest,wear and tear, colour and texture.

All three items I have chosen have a sense of heritage, they have all three been with me to many an evening out and are full of memories of parties, friends, food and wine!