Group work evaluation

I have enjoyed the collaboration aspect of the group work, in particular with Jessica Bachmann. We communicated and collaborated effectively together to combine our ideas and samples. I created knit and crochet samples for her to print on, and she sewed latex elements onto my crochet samples. The combination of our two different styles and techniques created some very interesting and unusual samples. It was hard to collaborate as effectively with other members of the group as they did not contribute any samples, and therefore this put a strain on the group as it was only Jessica and I producing any work, while Emma was in London. In retrospect, I feel we should have confronted them earlier and encouraged them to contribute more to the group. The knock on effect of this was that we were behind in our time schedule and did not leave enough time to combine our design ideas. This meant that our final line up was not concise or cohesive enough. 

Garment research

For my own individual fashion line up I decided to do a knitwear  collection upon Tom's feedback. I widened my research pool by looking at biker outfits who also incorporate the idea of protective padding. Studying knitwear collections from designers such as Sibling and Kenzo helped me to consider what my collection should include, ensuring there is a mix of show pieces and more wearable garments.

sibling knit

Standwork

Placing the samples in different ways on the mannequin on the body, gave me ideas for development in my samples and how they would work in a fashion context. It allowed me and Jessica to put our samples together and see how they could work together in synergy. I particularly like the interesting neckline images we photographed using the foiled denim layered over my knit.

Colour Scheme and materials

Following on from my tutorial with tom and sam, i have spent time to source materials from a variety of places in order to realise the ideas and textures discussed. A pet shop in Lilithgow, provided inspiration in the form of knotted toys and for materials, where i purchased stones used in a fish tank which i then trapped in silicone. Pentonville rubbers in London provided a source for a range of tactile materials, such as silicone tubing, latex sheeting, foam, and plastic sheeting. These materials provided a lot of inspiration and scope for development and experimentation. 

I started by making small samples to test out colour ways, and which materials complimented each other. Using the dubied machine I trapped the foam between the beds, this created a polished look. I want to combine all my skills together in my samples, crochet, domestic and dubbed.

Samples and narrative

Jessica has been developing a series of latex flowers, which have a delicacy to them, which I have incorporated into my knits and fashion designs. While we create samples we are trying to think of how they link in with our muse and narrative. Keith, for example, is the sort of character who would painstakingly create these delicate latex flowers at home to wear when he left the house. I have also developed a sample which evokes the idea of laboratory test tubes. I have trapped blue liquid within silicone tubing which is also trapped in knitted monofilament, creating a stiff translucent material with highlights of colour. I have been working almost exclusively on the dubied knitting machine, which has resulted in samples which have a very linear aesthetic. This is effective in some areas, however I need to combine it with fair isle knitted on the domestic for example to break up certain areas and add variety.

Concept development

Our muse Keith is an odd character, with a creepy aesthetic, he has disease which left parts of his face paralysed. This led us to looking medical laboratory coats for ideas on silhouette. Jessica Bachman began developing a range of 'psych' prints using foil on latex, denim, and my knits. I then began researching mental institutions, and what patients were made to wear as protection against themselves, such as straight jackets. I was drawn to the idea of padding for protection. Patients were put in padded cells or made to wear exaggerated padded outfits which were intended to protect patients from themselves. I incorporated this idea by inlaying strips of foam between the beds on the knitting machine, creating a variety of weights and flexibilites within my samples.

Materials Inspiration

'The world has become mouldable and its approach revolutionised... Our sense get mixed up and our sole contact with reality no longer accepts any borders' (Bompas and Parr). I like this idea, and want to incorporate it by creating very sensory and tactile samples. By using a mixed media approach, and incorporating a variety of unusual materials with contrasting textures, shine and tactile sensibilities. I like the idea of things being mouldable and would like to explore it further, using latex to create different moulds and textures.

Lucy Simpson, silicone on knit

My sample, silicone on knit with fish stones

Coral Reef

In our tutorial with Tom he suggested that we look more at coral reef photography. I have been drawing and collaging from these photographs. The odd deep sea creatures also tie into our narrative of something that is interesting and oddly beautiful but perhaps potentially dangerous to touch. I particularly like the translucency of the jellyfish, with the odd highlight of bright colour. I have tried to recreate this using monofilament and silicone, however this proved very difficult to work with on the machines so I could only achieve small samples. I am also taking inspiration from the bright clashing colours for my yarn selection. I am recreating the two tone iridescent quality of the fish, by incorporating viscose tape yarns and plating my knits with a shiny floss yarn, which creates a shimmer when you move the fabric. 

Initial concept

In our group, we pooled our initial research and developed a group concept.

We began by looking at futuristic space imagery with a camp and slightly tacky aesthetic.

Looking at the photography styling duo Gilles and Pierre, we referenced photographs which had a camp aesthetic and an odd sense of atmosphere. The styling had a seventies fashion reference with exaggerated lapels, which is an avenue we would like to explore for garment research.

We also looked at surrealist painting with a similar pastel colour palette. The painterly approach and sense of energy suggested impressionist inspiration, which is another source of inspiration we could look into.

After collating our images onto mood boards we were able to build up an aesthetic that featured a lot of shine and gloss. In my knit samples I will be using a variety of yarns to achieve this, such as plastic, lurex and viscose tape yarns. In our tutorial with Tom, he emphasised the importance of balancing the proportions of matte to shine. I will also experiment using latex and silicone to achieve this finish and also to give the sample the futuristic almost alien quality displayed in our mood boards. Tom also emphasised the importance of taking an experimental approach, such as bonding fabrics together and trapping liquids between layers. 

Evaluation

In my brief I set out to explore the capabilities and limitations of using unexpected media in my knitwear and how my samples could undergo processes which dramatically changed their materiality. I have done this by experimenting with media such as latex, pva, plaster and paint. These experimentations took the form of small precious objects, which I initially struggled to translate into a fashion context. However, after trial and error I managed to refine my plaster experiments, so that they acted as embellishments which I hooked onto the knit, and combined with  the other media to create a cohesive fashion collection. It was important to me that this was a very materials led project. Working on the domestic knitting machine allowed me to hook on and manipulate the crochet and plaster 'beads' I had been developing, as well as the latex moulds. I started off experimenting seeing how different yarns would react when combined with the plaster and latex. I continued to use traditional techniques with sensitivity to yarn choice bit combined them with unexpected media, to give an unexpected modern edge.

In order to make my samples more wearable in a fashion accessories context, I refined my colour palette to make it more subtle and neutral, which gave my crochet a more contemporary aesthetic, especially when combined with knitted copper wire. To progress my samples I would push my samples further in their fashion context. I would like to progress further using latex, moulding it to the body to create avant garde fashion accessories.

Looking at the work of fashion designers such as Jean Paul gaultier  who have used similar traditional processes of knit and crochet, but combined them with unexpected media such as lace and acetate, in order to create unusual high fashion pieces. 

                         

The fashion textile designer Lucy Simpson uses latex very successfully in her textiles, which takes an experimental approach to media and mark making and manages to create unusual yet wearable  pieces through her placement and colour proportions, which is something I drew upon.

Throughout the project I have made an effort to consciously plan and manage my time. As my project was very materials led, I could have spent less time in the experimental phase and started to refine and bring together my ideas into cohesive samples earlier. However, extensive trial and error put me in a good position when planning my submission for the Bradford 'combined processes' entry. 

Crochet samples

In order to make my crochet pieces more wearable and contemporary for a fashion accessories context I have refined the colour scheme and combined the crochet with more uniform knit on the domestic machine in copper wire. This created an effective contrast in textures and colour, and instantly gave the crochet a modern edge. I also painted some of the crochet with latex which dramatically changed its materiality, hardening it and giving it a smooth plastic surface. It made the crochet seem as though it was trapped within a plastic film, which is a theme that has been running through my project. If I were to take these further in a fashion accessories context I would shape them more to head, perhaps partially obscuring the face with the knitted wire.

Fashion context

My work so far has taken a very experimental approach to media, and now I have to begin to refine it in certain ways, so that it fits in with the fashion accessories context which I see it moving towards. The free form style of the work would lend itself to a headwear piece, however I need to refine my colour scheme and yarn choice in order for it to be more wearable. The style of free form crochet which I have been using, needs to be done using a more refined colour palette in order for it to look modern. I have been pinning samples to my mannequin head, which has been a very helpful tool for idea generation. 

I have also been considering how I can incorporate my plaster of Paris experiments into my swatches and my idea was to create smaller, more delicate 'beads', using beer bottle lids with crochet trapped inside. Creating multiples of these will allow me to layer them up and create interesting variations in weight. 

Bradford

The Bradford 'combined processes' brief places an emphasis on an experimental approach, which combines different processes. I decided to use a monochromatic colour palette, in which the focus was solely on the different materials and textures I was creating. When planning my sample, I now had extensive experience of the capabilities and limitations of using latex. I decided to combine the processes of knit and crochet, using latex to link the two, as opposed to crocheting off the knit as I had done in self initiated brief. The copper wire reacted unexpectedly to the latex, rusting and dying the latex a burnt umber colour. Although this was not planned, I like the effect of this created and Think I could push this further by crocheting small shapes of crochet and placing them in different parts of the latex to create an interesting pattern of discolouration.I think the contrast between the uniformity of the copper wire knit, and black crochet with the organic more random shape of the latex is effective. The deadline for the Bradford submission is the 9th March, and I will be submitting a version of the piece below. I would like to experiment further creating layers in the piece, perhaps connecting a different stitch of crochet with another layer of latex. 

                         

Plaster 'beads'

I have continued to experiment combining plaster and crochet, using different yarns and stitch variations. The smooth hard plaster juxtaposed with softer crochet creates an interesting contrast in texture. These created very tactile objects, which encourage you to pick up and touch. I then decided to refine them so that they could be incorporated into knit samples successfully. I did this by reducing the scale and creating multiples using crochet wire, and setting them in water bottle lids. I liked the uniformity of these 'beads' and the idea of layering them up with multiples. However, they needed to be more delicate so I began using beer bottle lids as a mould, using cling film to pull them out, which also gave an interesting curved edge.