Practice - Week 12

I diverted away from the red, because it was incompatible with the white warp. I focused on the curves created by the peacock feather in my photograph instead, abstracting the form, resulting in successful minimalistic monotone drawings. The inverted effect created with the white ink on black paper is an interesting theme I would like to explore within my weaving.

My peacock photograph & my drawing

I translated my drawings into weave using black monofilament with the white warp, creating 3D spirals with huge potential. I would like to emulate this vice versa to recreate the same inverted effect that my drawings had.

My spiral monofilament weaving

My weaving related to work by Vicky Olivera, who also obtained inspiration from spiral forms. This inspired me to experiment with other media like wire and pins. However, the wire ruined the quality of my weave, as it was too thin and unrefined.

Vicky Olivera weave

During group discussion it was mentioned that my pieces resembled Elizabethan fashion collars, due to their flamboyant essence. This was a helpful suggestion for my context, and related well to my dark colour palette.

My drawing & woven experiment (pins)

I wove with monofilament and silver lurex to emulate the shimmery effect of the condensation on the bus windows. I experimented by incorporating pins in an attempt to push the boundaries of my weaving and create an uncomfortable reaction to my potential fashion accessory. This relates to the impracticality of the Elizabethan collars, however, the placement of the pins were a safety hazard, so I discontinued the idea.

Practice - Week 11

I began my second self initiated project by photographing the dismal view I had during my bus journey home. I wanted to respond to the weather, as I had done with my first project about florals. The reflections of light contrasted exquisitely against the dark atmosphere, and the condensation on the window created interesting textures. I deliberately pixelated the lights in certain photographs to abstract my results further.

My drawing (acrylic, foiling) & my window photograph

I responded by drawing in a completely different and experimental way, to push my boundaries and create a clear contrast between my two projects. I used black paper and foiling to recreate the textures of my photographs. I was feeling frustrated during this time of year, due to the dark weather and stress of travelling in the unsavoury conditions. This frustration was reflected in my expressive style of drawing: the marks continued past the edges of the paper and the bright red was striking against the black background.

My failed sample with foiling

I was further frustrated with the unsuccessful results I obtained whilst I was weaving. The white warp lightened my red yarns, and the foiling technique that worked well with my drawings, was ineffective and further worsened the quality of my weave. The yarn between the warps was the only salvaging aspect.

My photograph & drawing (acrylic & foiling)

I began drawing again, this time focusing my attention to composition, which improved my drawing and helped to inform my approach to my samples. I tested foiling on bubble wrap and coated my weave with it, which created an unusual result.

My weave (bubblewrap & foiling)

Practice - Week 10

My abstract charcoal skull drawing

For my second self initiated project, I decided to expand on the warp structure I had created for my first project, by doubling the amount of sections. I was indecisive about what colour the warp should be, so I concluded by creating a white mercerised cotton warp, then dying half black. This decision was inspired by my initial abstract charcoal drawing of a goat skull in response to Georgia O'Keeffe.

'Flower of Life' - Georgia O'Keeffe

Practice - Week 9

I began a work placement for a bridal studio 'Sandra's Studio' in London. I found the inspiration boards interesting, and compared them to the final garments. I helped to stitch inserts of a bodice, which required thick, strong thread with small, hidden stitches.

I practiced stitching lace onto fabric and was introduced to new machinery. I learned the importance of ironing seams in certain directions, as it affects how the garment hangs and avoids puckering the fabric. I was also introduced to lace and silk suppliers and participated in a client's fitting, where final adjustments were made to the bride's dress.

Pattern cutting

I was taught how to create my own pattern for a child's dress, which requires careful calculations and proportions. I ensured I cut out the fabric on-grain, to keep the pattern consistent. I attached the underlay to the outer layer using an industrial Brother machine, which allowed me to accurately sew. I found the overlocker difficult to use, as it required precision and excess fabric to work properly. Mistakes would ruin the garment, considering the machine cuts the fabric whilst it stitches.

My dress modelled on baby

I am pleased with the result I obtained, but found the process tedious and difficult. The floral pattern links to the Hand & Lock 'celebrations' brief, as flowers are used to celebrate special events such as weddings and birthdays. It also relates to the idea of "play" mentioned within the brief: my response being 'child's play'. My dress demonstrates technical construction skills, but is not an appropriate entry for the competition, because it lacks an innovative use of these skills.

Practice - Week 8

During my group tutorial somebody noticed my work resembled bridal garters. Due to the nature of my woven samples, Stephy Ann lingerie was suggested as a contextual reference.

Stephy Ann Bridal Garter - Context

I identified my subtle colour blending as a strength in my weaving. However, my peach rose inspired weaves are less successful than my previous weaves, because the wool weft shrunk when I washed them.

Modelling weave as garter

I photographed my weaves in the garter context, which is an improvement to my previous placements and showcased my weaves to their full potential.

Board submission for Bradford Textiles Competition

I produced a woven sample to enter the Bradford Textiles Competition, which focuses on embellishment within the weaving, with use of textured yarns, to comply with the  woven requirements of the brief.

Practice - Week 7

I was satisfied with my white floral samples, and decided to explore something more colourful. I focused on a different flower, dissecting the two tones of pink of the petal. This translated well within my weaving and created a distinct two-tone effect. The wool I originally used was unsuccessful, because it failed to capture the quality and elegance like the mercerised cotton did.

My weaving

I created crochet chains in response to the remaining colours of the flower. The centre of the flower was translated with yellow French knots to capture the rich texture. I altered the placement of my weaving on the body, as the structure makes it more suitable as a decorative cuff.

Embroidered weave modelled as cuff

I reflected on my aims and divided my time for the remainder of this unit in conjunction with my proposal. I aim to finish my first self-initiated project, enter two outward facing projects, participate in a bridal studio work placement and produce a darker second self-initiated project in relation to the commencing winter month, inspired by Alexander McQueen.

Time management plan

I discussed my proposed schedule with my tutor about my outward facing projects. I was advised to participate in work experience for one week, so that I learn essential skills within a reasonable time-frame. I was also advised to extend my time frame for my Hand & Lock project, to ensure I spend enough time developing a final piece.

Practice - Week 6

With each weave, I noticed improvement as my techniques became more refined. I also started to obtain a vision of my context: to produce neck pieces. The space between the two woven structures could offer an unusual element to my fashion pieces.

Embellished weave

I created floral forms that embellished the surface of my weave, which I placed in a repetitive format to create a sense of order. This was a contrast to the opposite side which was an entanglement of embellished yarns to emulate flower buds. However, the cornely moss technique created a more refined result. I also experimented by incorporating fabrics and chains of crochet. I attached sheer, lightweight fabric to the edge to create a ruffle, puckered with the embellisher. This developed my neckpiece to encapsulate the body.

The weave was modelled as a neckpiece, but the result I achieved was not what I desired. The nature of the weave was not appropriate for that surface of the body: the structure was incompatible, because I did not consider the width of the shoulders and shape of the neck.

Unsuccessful modelling weave as neck piece