new home...

I've moved house. Please follow my blog at laura-wade.com :)

hairspray...

The colour of the paper dress is something I need to decide asap so Caz knows what colour card to construct the accessories in. I mentioned how important colour will be in the exhibition a few posts back. I don't think having it in white will work against the back drop of the photo shoot, so black will be the best option. Thinking about how much impact the hairspray had on the shoot, I had an idea to maybe include that on the paper dress. Just having the black dress may not highlight the links and loops, so when I sprayed the sample with the pink I was really happy with the results. The effect highlights each loop and adds an injection of colour to the garment. I'll ask around for more opinions but I think this could work in the exhibition.

the shoot...

Yesterday we had the shoot for the exhibition. I’d never done a photo shoot before so I was nervous about the day. It went really well and Jake (photographer) was so helpful directing the shoot, I can’t wait to see some of the photos. Amelia’s makeup was great and once we sprayed Emily’s hair with the pink hairspray it seemed to give us more to play with in terms of styling and poses. The pink hair against the black dress created a great contrast.

Today I was working on Illustrator and playing around the files to figure out the best way to print the final image. I wanted to find a way to customise the tile size for printing. Instead I found a better way, using artboard’s to create a grid of the print area. Artboard’s are similar to pages, you can create multiple artboards in different sizes or use the same size in a grid. It was exactly what I needed and I guess I’m just lucky that I have CS4. From what I’ve read it was a new feature Adobe added to the version. I printed a trial at home and so far everything is lining up really well. There are a few images below of the trial. As the image is blown up so large, up close there are beautiful areas of coloured pixilated squares that when you step back from the knit, you don't notice. It reminded me of my work in first semester third year, where I pixilated images to extract design lines.

Image: the giant knit

Image: a close up of the trial knit.

Hopefully now it’s just a matter of inserting the chosen image in the file; printing, cutting the shapes, connecting the links and knitting the whole piece. I’m going to organise a 'BYO scissors night' with family and friends to help me cut out the loops. This weekend will be basically preparing for next week so any trouble-shooting will be sorted and work set up so I can use the week to assemble elements of the exhibition. Fingers and toes everything runs smoothly. Seriously I’m crossing everything!

Confined spaces...

Today we cabbed back to the Docklands to take another look at our containers. We actually couldn’t get in the mini-me container before so it was a great to get a crow bar and muscle our way in. I brought along a measuring tape and one row and column of the paper knits to see what they might look like in the space. I’ve made all my models to scale and I’ve tested different layouts but seeing the container in real life was a reality check. It’s completely different when you in the space and it gave me a few things to think about.

Image: Scale model of mini-me container

Images: outside and inside the container, trialling with the paper knit

Here is a list:

Photo shoot- for someone who is a little afraid of colour, it’s something I’ll have to get over quick smart. The photo shoot is so critical to the exhibition. I will have to be really organised and know what things to try with makeup, styling, posing, lighting etc. I’ve already put together a little ‘inspiration’ board (as they say in the biz) for the direction of the makeup and style of the photography. I think I should put together a few more references so on the day there is a solid base that everyone can work off.

Accessories- the colours in the photo shoot will really impact what colour paper/cardboard the accessories and dress should be made out of. Originally I had thought it would just be either black or white but I need to take into account the environment. If the photo shoot is quite dark I may need the dress to be white and vice versa. Caz brought up a good point; to see the links in the dress I may need to work with different coloured paper to get the full effect of the work.

Paper knit- I’m going to ask a printer if they can help me figure out the tiling on the paper knit. I know what has to be done but there are a few problems that need to be solved to make sure the printing will be spot on.

Once the photo shoot is over I think I can make more decisions that will move the project forward. Fingers & toes!

Planning and doing...

Last week was crazy because of Friday’s proposal. It was fairly casual but I was glad that I made the models for the day; it showed exactly what I was planning. As it was to scale it was a great way to know the proportions inside the container and how it may look. Now I know I’ve got the smaller create I’m going to do another scale to work out new plans.

I’m starting to move away from the planning now and actually doing which is great. The photo shoot will hopefully happen next week, which will give me time to work on the printing and construction of the paper knits. Sadly bracketsfashion will be moving to a new home, I’ve been working with communication designer Jesse Mallon on updating the blog to laura-wade.com. It will be up by Spring Fashion Week and be a good platform to show my work. I really think a professional web presence is an important frame for your work. I judge a designer/company/blogger by the design of their blog so for me this is something that is a must. As my studio is based on the communication of our work I want to set up systems for people to view/experience my work. The combination of the exhibition, flyer and blog is critical to that original plan I proposed way back in the mid semester crit.

Here is an option for the typography for the title of the exhibition. I'm not going to use the same font for the title as I did for my name. Really, they are representing separate concepts. My name represents me as a designer and link represents my concept for the year. The advertising images I developed last week will have the title as the main focus, with 'LAURA WADE' in smaller print.

mini models...

On Friday we had the assessment/ proposal for the containers. I wanted to make models that were to scale so I could start to design the space. As it was to scale it made me think seriously about the proportions inside the space and the location of any hardware that would be needed. There were four versions I created each with a different layout and use of the container. I’m not sure which one to choose, it will just depend on which part of the container I am given. Here are a few images from the crazy model making day that was Thursday. I took over the house.

If you saw my work at open day and have had a look at the blog thanks very much!

collaborations...

Just found an interesting video on collaborating fashion designers and architects here. It includes Iris Van Herpens water pieces that she showed recently at Amsterdam Fashion Week, that's how she did it...

the advertising image...

This weekend I'm concentrating on the exhibition layout and getting my proposal ready for Friday. I'm really enjoying planning the 'communication' side of my work because it's allowing me to think about how I present my work. Not trying to be funny, but I've been really surprised at how far I can stretch my knit concept. It's easily slipped into the exhibition format and the idea has kept evolving the more I've pushed it. This week I've been trying to play with the paper knit images a bit more. I used a Vogue Australia photo shoot from the March issue and cut and knitted them together to play around with some effects. The photo shoot had a lot of colour, and when you compare it to the image of the mannequin which was black and white it makes much more of an impact. This made me think about the styling of the photo shoot and how important it will be to get all the elements right. What will the model's (the lovely emily!) make up and hair be? What will I put under the garment? Because the images are abstracted, little indications like a bright lip or the pink hair give you a little perspective that brings it back to the body.

Even though I won't have Abbey Lee modelling, and Abbey if you are free give me a call, this was a great way of testing what I want in the advertising image and at the exhibition. I have done a few mockups of the image with my name. I came up with this font for the fashion promotion elective a couple of years ago and it's something I always liked since. The letters even give the impression that they are linking together!

This is just a mock up but I like where it's heading. I was playing around in photoshop changing a few colours, it needs work but I think it's a good start.

Paper dress...

Above: trial of mini paper dress

On Thursday I laser cut the patterns from the first prototype. Over the weekend I had a go at constructing the garment. It was tricky to work with something so small and delicate but I was happy with the outcome. I had thought that I would use white paper for my wallpaper in the exhibition but there are problems with the laser leaving a burn mark, similar problems I was having with the fabric. Working in such a small scale proved difficult, but hopefully when it's bigger and I have the correct seam allowance there will be a better way to construct the garment.

I've started to think about the 'campaign' image that will be handed out at the exhibition. At the start of the semester I wanted to try and create one image that captures my concept in one image. Since I'm incorporating the paper knit in the exhibition, I've started to play around with a couple of ideas for the photo shoot. Instead of just having an image of a model wearing the dress, I was thinking I could print out the image and then cut it out like I did with the paper knits, then retake the shot. I trialled the idea with a basic photo of the garment I took a while back. It reminded me of a primary school activity when you cut out strips from magazines and then layered them to create one image. Two of the same photos were printed, then the rows of knit loops were printed on the back of them. It's hard to explain, but because the knit's shrink when they're put together you can't just use one photo, a second photo with alternating rows is needed. Complicated and I'm probably the only person who understands what I mean, but it works! The end result is shown below, creating a paper knit that you can still see the original image of. Hopefully this still gets across my concept instead of just having a regular photoshoot.

Above: Original image

Above: Paper knit

Focus...

I feel like a huge weight has been lifted off my shoulders since I’ve made the decision to focus on the exhibition. I know I’ve made the right decision because I’ve got back the excitement I had for my project and I can’t stop thinking about the endless possibilities of it! I’ve got back control and now I’ve gone back to my original proposal at the semester review. Instead of lying awake freaking out about 50 problems, I’m going back to last semester, with sketch book next to me writing exhibition and communication ideas down. Since I’ve focused so much on the runway I basically forgot my original intentions for communication.

When I spoke to Adele she asked about my website and advertising image I was going to have. I feel like I’ve made the decision with enough time to realise my original intentions that I pushed to the side. I wasn’t keeping up with my 2d folio (which has been the centre of my work) because of deadlines and I think that would have been a big mistake to miss a chunk out of my development. When I was showing my folio to Karen and Adele, who both had fresh eyes, I was really happy at how it summed up every single step of my development. It was as detailed and clear as I intended, because I kept it up to date. Even though I was talking them through the process they could see the timeline and progression of the semester. Documenting is a huge part of my work, and I’ll be happy to get back into that.

Getting back to the website and advertising image, the idea is to have a simple A5 cardboard advertising image with my details and the website. I always take away look books and campaign cards from boutiques, galleries, department stores etc. and when I find that in my bag I always go and look up the website to get more info. Adele suggested that it didn’t even have to be up and running it could just have a simple image (I’m thinking one that is different from the advertising image) with a ‘coming soon’ sign, plus I would have my blog address so if they wanted more info that would be an easy way to keep their interest until the website goes live. I’ve started reaching out for the photo shoot asking my friend to model for the shoot, and hopefully I’ll sort out a photographer and web help in the next week. So far the collaboration with Caz has worked out really well but it will get even more challenging reaching out further to people I haven’t worked with before.

This is a big learning curve, even just being able to communicate with collaborators is a skill that you need. Now I’ve made the decision there’s no more indecision and I’m genuinely looking forward to the next few months rather than being anxious.

Decisions...Decisions

This past week has been really tense at uni waiting to find out what we were chosen for. At the start of the semester when we were told about the two options at Spring Fashion Week, I thought that we had to choose between the catwalk or the exhibition. I decided on the exhibition because I wanted to push my concept further with a collaboration. At that time I didn’t entertain the idea of doing the catwalk as well. I thought that participating in both would result in each effort being done with half the effort because of the time frame. Then we were told we could go for both and I thought why not, if I don’t get both hopefully I’ll still get one and then it will be decided.

Listening to Denise and Karen talk at the end of the week I started to seriously think about the reality of trying to complete both at the same time and it made me re-evaluate my decision. It’s a really tough decision to make because now I have designed a capsule collection I would love to see on the catwalk, if for nothing else, so that I can be apart of that atmosphere and have that experience under my belt. Since first year MSFW has been a light at the end of the uni tunnel, I must admit that not participating in it would be disappointing, especially because...wait for it... I actually like collection! Ha, who would have thought?! However this isn’t the only part of fourth year and I need to think beyond September. My portfolio is the most important part of this year, and I need to think which will separate my work from other students, not even at RMIT, but also the whole world! If I focus my effort on the exhibition then I’ll essentially have more control over it and more likely that it will become an impressive part of my portfolio.

There is still a concern that this is completely unchartered territory, I don’t know what will come of it and that’s a big bet to be taking. It’s a unique opportunity, yet also a risk being the first year. There are five containers all around Melbourne and the work isn’t in the one place so there’s a chance some containers will get more traffic than others, it’s more of an effort for people to go. People get really excited by a fashion show, and I’m not sure if a container in Carlton has as much appeal. You can’t replace the runway images of the MSFW but you can still have a fantastic photo shoot that shows the outfits just as well. It’s a really tough decision, and I need to talk with Caz and the teachers going forward with a decision. Either way I still plan to stay on target for the deadline in August, I’m excited about constructing the pieces and even though they’re not in my plans for the exhibition I have to hope that they will see the light of day somehow, someday :)

3D...

The last two days have been pretty full on, and realising the time frame and complexity of the garments is scary. I just have to stay focused and try not to sweat the small stuff.

I met up with Caz today and she showed me some of the first images from the modelling programme she is using. It was great to see the designs transform from 2D to 3D and to hear the ideas she had for the project. I’ve decided not to go down the road of getting a full scale piece made for a couple of reasons. Talking with Caz she pointed out that constructing it would be a project in itself (and quite expensive), and with the time period we have, it may not be finished as well as it could. The point of the exhibition was to show another application of my work, and seeing the images Caz brought in today, they do this. Karen pointed out yesterday that the wood piece I created for assessment didn’t project my ideas as well the rest of my work. Seeing the models on the computer today I realised that although it would be great to have another physical piece in conjunction with the collection, it’s not necessary to show the idea/message behind it.

These are very basic images, and once the models are rendered they can be made to look like wood/steel/perspex etc, so we can push the materials and design to be more complicated than if it had to be made.

The exhibition would have a projection of the models (which can zoom around the models), perhaps one garment and one small scale model of one of the outcomes. This is what we’re both aiming for and I think it’s more realistic and hopefully the effect will be just as effective in communicating the message.

Images: (above) the opening used in the dress transformed into a chair

Images: (above) a wall feature with hinged loops that come out from the structure. This could be a seat that folds out or a pot plant could fit into the hole.

collection...

I’ve come to a little halt in the last few days because I’ve been mainly using illustrator to develop my ideas. It was good to get started but I think I need to get back in to sampling, which will allow me to develop ideas like before. I have slowly built a collection, although it’s not quite finished I feel like I’ve got the basis of it. Using illustrator created sketches, which are quite flat, but it was more about moving the shapes over the body to trigger new designs. It might not read well to others but I know how these shapes are moving around the body. I’ve used a paper cut-out to test one of the tops which is something I’ll keep working on, and I’ve tested the skirts shape in both paper and white leather which is what it will be made out of.

Images: Testing shapes on paper cut-outs (front & back), leather sample for a skirt.

I went into Uni today and tested the laser cutter!!! AGGGHHHH. I was really scared to use it but it all seemed to work out well. I used a cotton/linen composition and can’t remember exactly what the second composition was but it wasn’t synthetic. They worked quite well and I was happy with the result. It gave me clues as the composition and construction of the material that would be suited for my work. Both samples had burnt edges which was probably due to the cellulose fibres, so perhaps I’ll have to look into synthetic fibres instead. A bit more shopping around to find the right fabrics is needed.

Images: Laser cut shapes

The exhibition planning has been put on hold while I’ve tried to find a collaborator to work with. Luckily I was put in touch with a first year fashion student, Caroline Tan who has actually already completed a degree in Architecture at Melbourne Uni. We met up today and talked about ideas for the exhibition and I’m really excited about working with her. While studying architecture she was interested in modular systems and building with singular units so it was good to hear her ideas for the loops I designed. Caz also mentioned the possibility for accessories with the shapes I’ve created and I’ve just started to think of using leather belts or Perspex necklaces/bracelets in some of the designs. Hopefully I’ve come out of the lull and can start toiling some of the designs now and testing more options with the laser cutter.

Back to it..

This past week I’ve enjoyed just focusing on the paper structures. When I was making them before, it was more about figuring out how they actually worked, whereas now I’m creating the structures, trying to push the design further. There have been some great results, which I’m going to use for the basis of a dress/top/skirt etc.

I made a trip down to building 88 to see the Industrial Design exhibition. It was great to see the layout of their levels, but I must admit I was really intimidated walking in there. Their work was really cool and it made me want to do the course, I never even thought about it when I was applying in year 12 but I think I might have enjoyed it. Back to the exhibition, I looked at the Hybrid Objects [future fibres] room which gets students to “focus on the possibilities offered by textiles to lead, inform and challenge ways of approaching design.” It’s pretty much exactly what I’m doing but they used it for objects instead of clothes. It was interesting to see some of the interpretations and there were two students that I liked a lot. Sophie Bain created a skin rug using tapestry techniques and twine. It was really effective and caught your eye immediately. The other student was Sandra Campbell who created these amazing 3d paper objects using folding techniques of origami. It reminded me of the Akira Isogowa exhibition at the NGV a little while ago, he used similar techniques in his pattern making. The whole exhibition was great, even just to see their methods and processes and how they interpret the structures.

I have been looking for fabrics to use in the collection and I need to start testing them with the laser cutter, because the designs that I’m creating would be far too difficult to try and create finishes on them. The fabrics will be hard to get right because the design requires a laser cut finish.

I have three to four complete looks for the runway, now I’m just working on the last two.

the missing link...

I thought I needed a little vent with the problems that are coming up at the moment. I have slowly worked my way around to the back of my first prototype and currently I’m trying to figure out a way to use the links to create an opening. Not surprisingly it’s really difficult! I just want to get a big fat zip and be done with it. I went through about three different ideas on illustrator until I arrived at this one. I’m just hoping it will work. I’ve cut the work out in paper and pinned it to the mannequin. In theory it should work. However, I just cut out a little sample of the opening in neoprene and I’m finding as a material it’s harder to work with than I thought. This could be to do with its nature but I hope it’s got more to do with the thickness (2mm). When I get a thinner sample I will know. 2mm would actually be fine, but I need to sew the pieces together and it will be too bulky.

Image: The paper prototype of the opening

I was deciding between neoprene and leather for the final material of the prototype, and I chose neoprene because of its stretch and strength.

I’m quite anxious to find out if the garment will be stable, because trying to create a stable opening is really tricky. Essentially it’s quite easy if you have two free pieces, but the problem is both sides need to be separate and come together whilst still being attatched to the body of the garment. I incorporated a similar idea from a decreasing knit paper structure I created a little while ago. I find the more I look into knit the more I love it. There are so many structures you can create. I haven’t even looked into fancy knits, so I can only imagine how crazy they are to recreate. There are so many possibilities when I’m sitting at my desk and looking at the opening I think, ‘there HAS to be a way to do this’. Out of all the structures, there has to be something to solve this problem!!!

My second prototype hasn’t been cut out yet, because the opening has been taking so long. Hopefully I can get something cut out this weekend.

As for a third prototype I haven’t been able to start producing anything yet. I want to look into the process I used with Triumph, using Photoshop and Illustrator to manipulate the structures for a 3d format. Taking the knit classes at Brunswick has given me ideas for new structures and I have found a few more diagrams that I can create with paper.

A problem I can see ahead is how I will select and edit my work. I don’t want the pieces I create to be connected only because they are ‘knits’. There still needs to be continuity throughout the collection. Last semester I spoke briefly in my presentation about a ‘machine’. What I meant by that was to create a process that has variables that you can put into the ‘machine’ and out pops the results. I feel like it’s a simple way to explain my work. I’ve got a process using knit, I can put in the different materials/different structures into the machine and out comes my prototypes. Not sure if that makes sense but it’s how I see it happening in my head. Through all this I’m trying to keep in mind the quote from Brian Eno that kept me going last semester. I can’t just sit back and rely on this process to get a result, I have to constantly keep experimenting with the materials and structures and find different ways of looking at problems.

In terms of the exhibition I think I’m pretty keen on the idea now. I would still like to see my pieces on a catwalk but I’ve started to look at the exhibition as an opportunity to create a space rather than an exhibition. I’ve started to think about how I could best represent my process and my outcomes and looking at other applications this system could have. I started thinking about creating a whole wall out of the knit structure. Using a material like wood (this goes back to the machine) would mean that the structure would need to be redesigned in order to work with the material. Wood can’t curve and move into a structure like a fabric can, so the design changes. I’ve done a few drawings of the structure, but as always I can see it in my mind better. It’d be really cool to work with an architecture student or even a carpenter to make 3d structures with the knit! This is something that I’m actually really excited about and I would love to do a small prototype this weekend, or at least have something ready for the assessors so they can see how I see the space…

It’s all tiring but at the same time really exciting. I’m getting a little obsessed with knit…

calico toile..

I'll explain more when I have some time in Sydney but I went back to the calico prototype I started on Monday. I sewed two sides of calico together around the edges. It was a long process and there are still issues to do with fraying.

Materials matter...

Knowing how quickly this semester’s going, I feel like every day is important. At this stage I haven’t decided what is the best platform (catwalk/exhibition) for my work, so I’m aiming for this deadline to give me a chance at both.

“For the catwalk 6 outfits are required, therefore to even be considered for this you would need to present at least one resolved outfit or 3 finished prototypes at this semesters assessment.”

Last semester I didn’t have any final/resolved pieces so I have to crack down. I can’t keep ‘going’ this semester.

This week I’ve started to move the knit constructions onto the body. So far it’s just the basic ‘square’ knit I’ve used. My first experiment was with calico. As a material I didn’t think I could use it because it wasn’t holding its shape at all and it was fraying.

Instead I tried a thin foam sheet that I had in the cupboard. Cutting the pattern was much easier and it held it’s shape well.

I decided to do this in a larger scale and repeated the rows on a larger sheet of foam. I used it because it would be similar to neoprene. When I placed the structure on the body it was quite rigid and didn’t quite mold to the body as easily I thought it would. After being really excited by the prospects of the foam/neoprene I realised A LOT more thought would needed to be given to

a/material &

b/construction

The thickness of the foam was around .4mm, and this was enough to add another element to the structure I hadn’t considered. The rows were interlocking but they also didn’t ‘fit’ the way I had designed it on illustrator. I was designing for a flat 2d surface (paper/fabric), and even though this was .4mm, it was enough to effect the behavior of the structure. Neoprene is still something that I will continue to use, however it won’t be the only material I will use.

At the moment I’m opening up possibilities of woven materials again. I tend to rule out options really quickly, so I need to go back to the drawing board, have an open mind and test fabrics alongside knit structures. I've got a lot of variables in this project and I need to find a happy medium between material and structure.

cutting & pasting...

The past week I’ve been getting more and more worried about my communication. At the proposition I had the idea that I would make a website that was basically worked like a pdf file of my process. I’ve been thinking a bit more about it, and given the advantages and disadvantages of the internet I’m not totally convinced that putting my process out there sits right with me. I understand that’s a stupid thing to say given that I’m putting it all out there with this blog, but I guess I’m thinking about how much of the process I want to give out.

Onto the things that aren’t so confusing, well less so compared to communication. Illustrator has become my best friend lately. I’m using it to create my weft knit structures, and it’s made it easier to understand how the knit’s work. I can clearly see now how the purl stitch works in comparison to a stocking stitch, looking at drop stitches and even creating my own. I’m not sure how stable my constructions would be but it’s something I can keep developing. Illustrator makes it really simple to resize, cut, paste, rotate and duplicate the constructions. I’m constantly learning, trying to figure out why some shapes work and others don’t link up. I’ll have to start using fabric in the next week but at the moment I’m just getting used to creating and altering the knits.

Above- Illustrator diagram of weft knit

Above- Paper version of weft knit

after the crit..

Getting feedback on the crit was a good way to consolidate what I already knew.

-I’m creating new systems of design, building outcomes that I don’t know the outcome of. The process is important to me, but the outcome is also important. I may not be able to have an exact idea of it during the process but it will become clearer as I build the garment.

- I’m not clear of what is important to give the consumer. Do they really need to see just the process? They can’t wear the process, so why should they care as much about it?

-I thought my thesis was quite separate from my studio work but now I see that there is a big link. Here is a quote that I found quite interesting when researching my thesis topic.

“Cathy Horyn, the fashion critic for the New York Times, wrote in her review of the show, ‘All those scarred fabrics are essentially ornament; the underlying shapes don't change much, and they're not interesting. Indeed you wonder if they are bored or intimidated by the actual mechanics of design--cutting, setting a sleeve--and that what their clothes express isn't technical virtuosity but inarticulateness.’”

It made me think, if the Rodarte sisters had graduated from university, would Cathy Horan take this view on their work? Even if they were actually ‘bored’ or ‘intimidated’ by the mechanics of design, does it make their work any less important? Does a designer have to have learnt the basics of construction and design to then move on? A lot of people (including me) think that everything has been done in fashion, so why do we stick to methods that essentially give us the same outcomes? Shouldn’t we be really embracing a move away from what we know, so we can look for original designs? That critics view on Rodarte is certainly apart of a minority of critics of the label. I wouldn’t have learned what I learnt without going to university, and I don’t think I would have explored other possibilities of construction and design processes like the ones I am if I stayed in my TAFE course. I don’t think I would have questioned fashion.

Proposition

Abstract:

My time at RMIT has given me an appreciation of the complexity and craftsmanship that exists in construction of a garment. Early on, I didn’t dedicate enough time to explore the possibilities of textiles within my studio. Evolving my own design process has allowed me to include textiles as a basis for development. Last semester I experimented with knitwear to see how the construction of the fabric could be used to inform my design process. The outcome depended solely in the fabric and I essentially had to design around the fabric. This year I want to explore knit constructions and essentially use the fabrics as ‘patterns’, which can inform my process. Isolating knots, wales, courses and loops, I can ‘build’ garments as opposed to sketching them. This time the outcome will depend on a number of factors; the structure I choose, fabric and the size/shape of the loops. Complex structures that couldn’t be produced by hand knitting can instead be created with repeating loops. I understand I can’t have complete control over the reception of my work, but where I choose to position it will affect how it is received. Essentially I’m looking into alternative design systems, and this will need to be communicated in my work. There are connotations attached to commercial and conceptual fashion and I am still struggling to find where to position my work. Finding the balance between creating an image of the garment and representing the origins of its development is important to get right.

Aim:

I want to broaden the methods I use to develop, design and construct outcomes. It is essential to show the consumer the importance that I place in process, from concept to the body, which will be reflected in my communication methods. I also want to be able to define the relevance of work and decide where it can fit in the fashion system.

Methods & Approach:

Last semester I was intrigued by Brian Eno’s drive to imagine new concepts simply by questioning the simplest techniques and processes.

Trying to break away from the accepted way of working was both daunting and exiting. Creating an original process meant that there were no references that I could rely on to guide my process. Essentially I allowed myself to thoroughly investigate the materials I was working with before thinking about the relationship to the body or garment. I led myself to redefine what I believed to be ‘designing’. I want to continue with the methods I developed last year to question how I can create alternative systems to produce garments. This will result in a series of experiments that will lead me to analyse the results and use that knowledge to develop new experiments. Once enough information has been collated, I can then start to build garments on the body from structures and materials I have explored. Documenting this process is essential to my communication as the catalogue, website and ‘advertising’ image will reference this heavily.

Outcomes:

The nature of the design process I am using keeps me from knowing what the exact outcomes will result in. The experiments will slowly allow me to know what I can construct. A series of structures will develop from the experiments, which will then need to be translated to the body. My intention is to broaden the methods I use to produce outcomes for the body, which may result in a series of garments or just one that is culminates the techniques and constructions I have developed.

My focus over the next month or so is starting to create a successful communication framework that includes the ‘virtual’ world and the ‘physical’ world. Already I know a few areas of communication I will need to find collaborators for.

-A website gives me the power to direct the user through my process of design. My website might only use selected images of my process, like a PDF booklet, without any images of the outcome. Working alongside a photographer and web site designer would be critical for it’s effect.

-Producing a catalogue of my work last year was a really successful way for me to summarise my work and have complete control over the words and images used. It also allowed me to collate the semester’s work and summarise it.

-I think traditional advertising campaigns, when done right can capture the ideas of a brand or collection really well. What I’m really trying to capture is a single image that I can use to communicate my years work. Out of all this, if I can only use one image to represent my work what will it focus on? Design process or outcome? And can it do both?

As a designer I find process the most fascinating aspect of my work but I also enjoy collating and presenting it. I understand that not everyone is a designer and people want to see the finished outcome. This being my final year, I am very aware that you can’t design in the context of a classroom. There has to be a bigger picture. Put simply, People ignore design that ignores people. There needs to be a consumer at the end of the cycle and they need to be respected. They may not necessarily be buying the garments I have developed, but they will respond to my work simply by looking at it in a magazine, editorial, online, video or exhibition.

I’m not interested in fitting my work into the traditional fashion system or putting it in a position where others have the opportunity too. A runway has immediate connotations of fashion, and an exhibition has immediate connotations of art. The three areas of communication I want to express my work in can be controlled heavily by me. A traditional runway/exhibition may not offer that same control which is why I want to invest more time in contemplating the physical communication of my work. Jessica Bugg’s article in fashion practice journal was based on her PHD research on Fashion at the Interface: Designer-Wearer-Viewer, she noted:

‘ Fashion classification has increasingly focused on consumption and market level, as opposed to reflecting the designers intention, process and the context for which the work was designed. Clearly there is a growing divide between commercial and conceptual fashion and production and consumption models can be addressed in this light.’ Pg 30

I have begun to define the ‘consumption models’ I want to explore, but as I begin to define my work further, I hope this will give clues as to how to physically present my garments to the consumer.

Crit thinking...

Today was a BIIIIG day. I think I’ve had information overload and now my brain is biting back with a headache! I’m never nervous about speaking, it’s just that moment of silence that comes before the actual feedback. What was most important about the crit today was the confidence that the feedback gave me. I didn’t feel 100% about my direction simply because I felt as though knit was a complex area to step into, of which I had no experience. Taking a little side step to traditional ‘knitting’, has really opened up possibilities of structures I want to explore and construction methods. Most importantly I’ve got back the excitement for my work that I had last semester.

Stef’s question (if I’m looking into construction, will the execution be important?), was something that I hadn’t addressed yet simply because I hadn’t got to a point with my work where I have decided what my outcomes are. As the process is about construction I would like the execution of the ‘pieces’ I create to be shmick. Speaking in the afternoon class with Pia, she reminded me that it was still important not to come to any conclusions about my work. I may create a garment, but I could also create a ‘ball of yarn’ or piece of fabric. Like last semester, until I know these constructions and ‘collaborate’ with them I won’t know what I can produce. I don’t want to use the term intuitive, to describe my work because it can have connotations of unplanned and erratic methods. My process involves analysis and reflection with each experiment I undertake.

Something that has made me more conscious of my communication was Pia’s class. While her work was overwhelming, it forced me to ask more questions about my design process. When I was listening to the presentations today, it became clear to me how much people are pushing the boundaries of fashion. I’m pushing boundaries of construction and design process, but I’m not necessarily questioning the parameters of fashion. It’s not that I don’t ever do this, because my head is always filled with questions about fashion’s applications and relevance. Pia’s session just made me think more about where I sit in the big scheme of things. Where will the pieces I create in fourth year be in six months, one year, five years, twenty years, one hundred years? It’s a sobering thought and the answer is I really don’t know. After all, what is the importance of looking at design processes? Why should we waste time being creative when we can sketch a pretty good t-shirt and pants? That’s taking it pretty far but there is truth to the argument. Last semester the founder of 3fish came in to talk about how he saw a gap in the corporate wear market and created his own organic corporate wear company with a conscious. I would love to actually work with them one day because the company seemed to have a lot of integrity. It’s not to do with design, but it does make a difference.

Ohhh geee, I guess Pia’s talk just made me poke bigger holes in my communication proposal because I’m struggling to ;

a/ define my work

b/ decide where it sits

Going back to the Don’t Panic post, I’m still concerned about the bigger picture. What will I be doing when I get out of Uni? Where am I going to position myself within the industry?? This is a little scary, but you can never get to negative about things, so I’m hoping if I give it more thought the answers might come to me.