CRTICAL APPRAISAL_ Introduction to Textiles Applications

Critical self-appraisal:

Textiles was an area I had never explored, so I was eager to learn how to work my way around the print room. It all seemed very scary, with hazardous chemicals all over the place- I felt out of place. However that alienation didn’t last long as I got to grips with some amazing print processes.

The first thing I learnt- there was so much you could do to a piece of material, from dying to discharge to printing pigment, then on top of that add a bit of foiling. But it didn’t come easy to me, and I became frustrated at my seemingly lack of ability. Although that wasn’t the case, I often compared myself to others which made me put myself down.

I wanted to fully immerse myself in the world of print. My heart longed to be there, but my head was telling me I couldn’t do it. However with a little bit of reassurance, I produced prints I was happy with. They aim of this module wasn’t necessarily to produce outstanding prints, but to learn about the way in which they are put together and the processes, also how to mix up some of the dyes.  The use of a file was helpful to record the processes and to refer back to. Guest speakers such as Bridget who collected a wonderful array of vintage prints added some historical and contextual research and background to the module, which was then applied to the prints produced.

I really enjoyed working with the silk, we seemed to click. I loved the vibrancy of the colour it took on when acid dye was applied, and the finish when printed with a screen. These regained my confidence, and allowed me engage and produce print samples to my high standards.

The area I enjoyed was creating a print to be exposed onto a screen. It included mark making and transferring them into motifs, to make up a pattern. I excelled in this and ended up with two contrasting prints that work well independently, or could be layered up which I was very excited about. A series of print processes I was especially pleased with that used the screen was a strong background, then printing one pattern in a contrasting pigment. I would then use the other pattern and print this over the top with discharge, so it was subtle. This worked incredibly well and a collection soon built up. So it wasn’t all bad.

It was a bit of a roller coaster of emotions; sometimes I was positive sometimes I was adamant I could not do it. Overall I achieved a lot. Looking back, the processes alone were something to be proud about knowing how to do. But my final print sample collection was something that was pleasing to look at, with bright bold colours and playful prints. I didn’t allow my stubbornness to take over this time, hopefully this will be a new me. Considering I hadn’t much experience in the textiles field, I was pleased at how far I had come.

CRITICAL APPRAISAL _ Intorduction to Fashion and Textile Processes

Critical self-appraisal: Considering this was my first project at university, I feel I achieved and learnt a variety of different processes and managed to stay up to date and focused on creating a good body of work. I really engaged with the module and fully applied myself to push myself to be the best I can. Making a shirt from scratch was a wonderful way to interact with the machines and discover many processes, such as creating a pattern from a block, and putting together a shirt in the correct order, all which were very new experiences. As confidence is a massive issue for me, I found it hard to trust myself when putting the shirt together. I wanted reassurance, but as I became more confident with my surroundings and that in fact I could do it, I progressed and was very pleased with the outcome. Of course the shirt wasn’t perfect, but what we were taught to me was far more important- I feel now, with a small amount of help I could create a pattern from scratch and put together a garment. In the 3 or so weeks we had, that is amazing. The use of recording step by step of how we did things was very valuable and a good habit to get into, as its ideal to look back on. I am very positive about the fashion construction section, which definitely helped me achieve the shirt to a high standard. Perhaps I’m not a natural, but I have a passion for it and am willing to work hard to better myself. Textile processes was something I had never explored, and it didn’t disappoint. Again, as a lot of processes were put upon us, so much was learnt. Photoshop for me took some getting my head around, but I was impressed with even the simplest of prints I produced. After practicing, I really engaged with it and felt I could understand it and create some layered in depth prints with the potential of being printed onto fabric. Research is key for both sections, and it helped me to understand and inspire me. Looking at prints and breaking them down proved vital in understanding how a textile print is put together, therefore it made sense when producing a 50x50 print. At this point of the course I lost my way slightly, and began to doubt myself of my capabilities. So I didn’t see my print as the best they could be. However I got back on track and tried again, creating a print I was proud of. This homed in on all that I had learnt, and showed it off. Because this was such a drawing based workshop, it really appealed to me as my drawings and mark making are strong. I got on well with the more manual approach to putting a print together, as I had more control, but both this and Photoshop were successful. I am over the moon with my progress, and have learnt so much in the short time I have been here. It’s not been easy as I constantly doubt myself, but that makes me strive for a better standard. Of course what I produced in both sections needed refining, but I built up a strong body of work to look back on and refer to when I use the same processes.

JAPANESE FASHION IN PARIS_

Fashion in paris (1980s) had become boring. It was the same each season, with no real excitable qualities, meaning consumers were not interested and were not buying. However the movement of Japanese designers meant new and exciting designs within couture, and made french designers think outside of the box. Kenzo takada, one of the first influential ready to wear designers recognised  by the french, introduced combinations of plad, florals, check, and combined ethnic cultures, colours, and vibrancy on the runway.It perhaps broke a boundary between the west and eastern fashions that had needed to be broken for a long time, to get the Paris fashion market back on track. 
Japanese fashion was avant garde, unconventional and forward thinking. The post modernist approach to fashion produced different and unusual fashion, introducing new materials and ways of making garments. 'Perfect symmetry is ugly, I want to destroy symmetry’ – Rei Kawakabo. She has challenged the West’s perception of fashion and perfection. She deliberately designed garments to look unfinished,  destroying the norm. Japanese designers distressed and deconstructed their garments in response to the trauma and suffering of japan during the war Hiroshima.
The Japanese also introduced  large, covered, non fitting garments. These often include minimal detail and simple shapes, often using black materials. The garments didn't fit the body traditionally, and they began to explore new ways of fitting the garment- draping, sleeves in unconventional places, oversizing.
Influential Japanese designers include Yohji Yamamoto, Issey Miyake, Rei Kawakabo, Comme des Garcons and Hanae Mori.  

FROM WORK TO FRAME_

From work to frame: World, Structure, Market, Industry, Discourse, Institution, Network and other systems of legitimation.

The space in which art is held may take a physical form, such as a gallery, catwalk or urban environment, but the space is conceptual.  It plays a crucial role in defining or legitimising artwork as an artwork. These spaces are contexts and social conventions that render different effects upon particular objects, therefore establishing their meaning and significance. A bed at home, perhaps perceived in its 'natural' environment, is simply a bed. But when displayed in a gallery, it potentially take on a different identity and are therefore valued very differently. So perhaps artwork created in a studio space is never fully artwork until it has been exhibited somewhere for the benefit of the public. 'What is the context that allows art to be defined as art?' Typically, the gallery or museum seem like the natural destination for artworks. The gallery/museum is an invention that is relatively historically recent. During the 18th and 19th centuries, our modern galleries such as the Louvre (1793), The National Gallery (1824) and the Victoria and Albert Museum (1852), began to emerge. However, it has become evident since the late 1960s that the gallery is not the only place where art can be displayed, with artists exploring alternative locations and formats in order to reimagine how artworks can be presented.

Within the fashion industry, designers are exploring alternative ways to present their work. A place relevant to their collection, they may chose more urban environment or a less 'classic' approach, such as carparks, airports or shopping centres. A recent example is Karl Lagerfeld's SS14 collection that was held in a supermarket, to suggest the idea of mass consumerism. The purpose of these increasingly performance shows is to facilitate an audience- physical or through film/internet.

So is it the place the art is presented what makes it art? Haute couture is often perceived as art, but if ready to wear high street collections were placed in a gallery, would people value these differently to the fast, cheap, fashion industry? Designers collaborate with artists to bring them closer to the art world, to draw a different, more refined audience. However, brands like H&M collaborate with designers and celebrities (such as Isabel Marant and Beyonce) to attract a wider, perhaps more 'mainstream' audience. On a different spectrum, designers such as Comme des Garçons have introduced concept shops, situated within areas of art galleries. It appears more of an instillation, making the clothes appear more 'art' like. 

Where and how work is presented is an important part of demonstrating how of the creator perceives their work and how they want it to be viewed. The studio space might be where the artwork originates, but a lot happens after that moment that will have a large share in defining the artwork. Artworks may have no intrinsic or essential value as such, and their definitional identity as artworks might not even be innate. There might be nothing within an artwork that defines it as an artwork or of a particular value, instead they come to possess such identities and value through social and institutional agreement. However, artists and artworks are not powerless. An institution may define what counts as art or what type of art it considers valuable, but artworks can provoke such institutions to redefine what they count as art and challenge its systems of legitimation.   

MODERNISM AND POSTMODERNISM_

Modernism and post modernism are broad cultural trends that are current within art and society. Both existed together, and perhaps postmodernism was dependant upon modernism. It was a reaction too, or even a manifestation of unresolved modern tendencies.

1. Anti modernity_    

A response to modernist fashion is anti modernism. The idealism and good taste has now become vulgar, radical, kitsch and garish. It is a combination of different styles drawn from different eras, costume, street wear, modern technology and new materials- bricolage. Post modernism, unlike modernist fashion, took a more deconstructive approach. Deconstructivist sewing, taking it apart, putting it back in a different way, different pattern making and cutting techniques, a less than perfect finish. Perfect symmetry is ugly, I always want to destroy symmetry’ – Rei Kawakabo. However anti modernism could be seen as self mocking the fashion industry- a pastiche, not taken seriously. 
Yohji Yamamoto and Issey Miyake are examples of anti modernist fashion designers, creating garments that are unstructured and unfinished.

2. Revival Fashion_

Created through personal approach and individuality. Perhaps for people that do not want to become a clone and buy into the fast high street fashion industry. Its about re-contextualising  imagery, being unique- bringing together different eras and styles.

3. Humour_ 
Post modernist fashion is expressive, so humour is an important theme. It allows fashion to not be taken seriously,  and have fun with it- making a statement. Moshino's Barbie collection was a fun and exciting show, where the models brought the 'barbies' to life.
Leigh Bowery used fashion to challenge ideas about sexuality. During the 80s, he created his own image making his own clothes, combining historical costume with modern trends. It was ugly and blatant, a parody towards fashion. However there was a context behind the humour, suggesting you can dress how you want.
4. Technology and Materials_ 
Post modernism was perhaps all about challenging new ideas within fashion. It saw a great rise in the experimentation of new materials, such as pvc, wood, metal, plastic, glass. designers, always looking for something new and innovative, turned to technology to create digitally produced garments.
Hussien Chalayan created an LED dress, suggesting designers are embracing the technology and using it in a creative way within fashion  

2ND YEAR MENTOR_

We were paired with a second year student, to help us settle into our course and support us when needed. My mentor was very helpful and understanding, and when i showed her my work she gave me very valuable feedback, and gave me things  to consider and work on to better my work. She also showed me her current project, and it was interesting to see their scheme of work, and also the amount of work they produce. As i am still relatively new to the course, i was pretty in the dark about what to put in my work, so speaking to my mentor was helpful. It was also inspiring to see her work, and i am looking forward to the live project in the second year.
My mentor also gave me very valuable advice about my blog, and suggested it would be better to write a weekly post rather than everyday, and only concentrate on my feelings, and strengths and weaknesses.
Having this mentor scheme will hopefully prove valuable for me, especially when I am in need or have a question/ need advice. It was nice to have someone to speak to who's had the experience of the first year. 

RESEARCH_ COS SHIRTS

 ZIP POCKETS, CROPPED, BOXY

 DRAWSTRING BOTTOM

 ZIPPED FRONT

 VERTICAL ZIPPED POCKET

 STAND UP COLLAR, FLARED (BODY AND SLEEVES), ROUNDED HEM

 SHAPED HEM LINE

 CONTRASTING PANELS

 DRAWSTRING WAISTLINE

 BOXY, CROPPED SHIRT, LARGE PATCHWORK POCKETS

LARGE OVER SIZED FLARED SLEEVES, FITTED BODY

MENTORING FOUNDATION STUDENTS_

The time had come for the foundation students to start applying for their universities, and think about the future. As we were relatively new to the course and had just been through the applying process, us ex foundation students were given the opportunity to mentor the current foundation students, giving them tips on interviews, portfolios and current projects. For me this was quite daunting, especially drawing on my experiences - perhaps they weren't the best. I felt I didn't really have much to offer, as i only applied to one university. But the students seemed to be interested in my current project, looking through my sketchbook and technical file, assessing the obvious step up of the work load needed for university. It was nice to talk about my work, and their feedback was valuable in creating a better body of work.
For me, this mentoring scheme was a confidence builder, but I feel it helped the students to feel slightly calmer about the next big career step in their life.  

MODULE REVIEWS_

THE PHOTOGRAPHIC IMAGE_ TAKEN OR MADE

Photographer is a massive part of everyday life, and with the popularity of new technology, it has become available to mostly everyone. As a Fashion and textiles student, photography is a very prominent and valuable part of my course: recording visual information for research, gathering evidence, photographing a final collection. It just wouldn't be possible to get across the same visual information without photography. We also view others work through the medium of photography to inspire our own work, to collect research towards our chosen theme- photography becomes a research tool.

'The photographer was thought to be an acute but non interfering observer- a scribe, not a poet. But as people quickly discovered that nobody takes the same picture of something, the supposition that cameras furnish an impersonal, objective image yielded to the fact that photographers are evidence not only of whats there but of what an individual sees, not just a record of what the viewer sees, but an evaluation of the world'. A camera takes a record of what the viewer sees, but at which point is the photograph made into an image? 

The subject of this lecture was a standing debate- is the photograph taken or made? When does photography change from merely a means of research to a work of art?
What makes an image true? A documented photo, used for research or evidence purpose, could be seen as a 'true' photo. However, a heavily constructed, changed photograph could be seen as untrue, as it no longer represents its original surroundings, the original view the photographer saw.  The photographers original meaning can be so easily changed – the opinion of the third party, context, publication, caption, text or cropping of the original image. The photo is wrongly portrayed, making it an untruth. The presentation of the image can also have a heavy effect on the image, distorting the original meaning- for example, in a newspaper or magazine, it could be altered by the writer.
Although perhaps images have been deliberately staged, perhaps to get across a deeper meaning or even to successfully sell. It seems all to easy for a photographer to change the perspective of the original view to create a false reality. The photographer is telling a story through visual language, but not necessarily a truthful story.

it is possible to tell a different story through the medium of photography- cropping the image to emphasise a particular part (therefore influencing the photo), or even the choice of black and white (b&w- Documentary, colour- pleasure). After all, it how you see the image and record it that changes the narrative- the camera doesn't just take the photo.
From the moment a photograph is taken, it becomes history and is changed by time and natural environment. So perhaps all photographs are untrue, and whether it be intentional or unintentional, they are all made.

1928 PARIS_ EVOLUTION OF THE COUTURIER

Paris 1928- the bash before the crash. Paris somehow rebuilt its city, attracting great people. It  became known as one of the most glamorous cities in the world- elegant, mysterious, full of hope. The rich went there to live the high life, whereas the poor went there because things were cheap. It was a city of belief, people believed they would succeed upon visiting this new creative Paris.

After the devastation of WW1, Paris had to rebuild its self, which ultimately saw it enter the creative decade. Paris saw it attract writers and artists, all wanting to reinvent themselves. There was a high chance of success at this time, and the city gave anyone a chance to fulfill their dreams, make money.  It was a period of revival, the city had become liberated and people were beginning to recover from the war, enjoying what life brings. Thousands of people all over the world went to Paris to better their life, reinvent their selves. It was the high year before the 1929 wall street crash, causing depression and loss of money to 40,000 wealthy Americans living in Paris. 

The 1920s became a decade of artistic movements. This included surrealism, a revolution that changed the world. This perhaps celebrated the end of the war, and drew on the devastating and absurd human experiences- the crossover of reality and imagination. Artists included in this movement were Rene Magritte, who started to paint surrealist paintings, 1928 being his most successful year. He played around with the bazaar tension between dreams and reality. Magritte discovered it was all too easy to confuse images with reality, perhaps at first glance surrealism appears scary and confusing, but the idea of the real world is a lot more dense and scary- overcomplicated. One of Magritte's most famous work, 'The False Mirror', took the interior world and bought it outside, exposing it. 
Another artist/ filmmaker, Luis Būnuel, thrived in the 1920s. He was said to be an 'iconoclast, moralist and revolutionary who was a leader of the avant-garde surrealism'. Buneul co-wrote and directed  a 16 minute film Un Chien Andalou with Salvador Dali. The film consists of a series of startling images of a Freudian nature, with the famous scene of a woman's eyeball being sliced open with a razor. Bunuel stated " our only rule was very simple: no idea or image that might lend itself to a rational explanation of any kind would be accepted. We had to open all the doors to irrational and keep only those  images that surprised us, without trying to explain why". It was his intention to shock and insult the intellectual bourgeoisie of his youth, although against his expectations, the film was a huge success and was received greatly among the french.

The evolution of the couturier- 1920s Paris. A couturiers garments were handmade, luxurious, a one off custom piece. Couture was, because of its hefty price, a statement of wealth, meaning it was usually only popular within the rich society. 
So when did a dressmaker become a couturier? At this point in fashion history, the wealthy would get all of their garments made by said dress maker. The customer would dictate what fabric, style, fit they wanted- perhaps the couturier had a different approach. Charles Frederick Worth became the first person to put  his name on his clothes, and designed his garments for the consumer in general, not to be made specifically for one person. The start of the fashion industry had begun.

Fashion evolved from its reactions to what was happening socially and culturally, but also to its surroundings, politics, music, film and literature. Women were becoming more empowered, able to do more. However fashion was restricting them. They wanted to socialise and play sport, so through fashion they were liberated, freed from the corset made so famous by Worth, and Paul Poiret eliminated the waistline. He introduced the empire line, which moved the 'waistline' to under the bust, making the garment more comfortable and practical to wear. This was a massive evolution and step forward in fashion, as women could now do things they could never do before. Chanel also gave women freedom by using jersey as her outside material on the iconic little black dress.
Women were not only restricted by the fashion, but also through their gender. Men were always seen as the artist, the thoughtful mind, while the woman merely the laborer. Although gender equality has progressed, perhaps there are still elements of men being more powerful within the arts world.

So is the fast fashion destroying couture? High street fashion lends itself to being cheap, easy to obtain, throw away fashion. Through this we are losing our skills and artistic eye toward the beauty and luxury of haute couture garments. 

ART, SCIENCE, NATURE AND MACHINE_

In Britain, the effects of the industrial manufacture had been about since the 1840s, but it wasn't until late 1800s that architects, designers and artists began to look for new approaches to design and decorative arts. This led to the foundation of the Arts and Crafts movements.
Modernism was not conceived as a style but rather a loose collection of ideas. It was a term that covered a range of movements and styles that largely rejected history, and which embraced abstraction. It flourished in Germany and holland, as well as major cities such as new York. Modernists had a utopian desire to create a better world, and believed technology was the key to achieve social improvements.
These two movements had opposing views of the role of design in society, they wanted to transform it in their own ways. But the movements were not just about what they produced, but were combined with cultural and political beliefs.  

The built environment that we live in today was largely shaped by modernism. Modernism lay the idea that the world had to be fundamentally rethought, and the carnage of the first world war lead to a belief that the human condition could be healed by new approaches to art and design- more spiritual and sensual. The desire to connect art and  life led to a collaboration between artists and designers. They focused on the basic elements of daily life- housing, furniture, clothes. They saw the machine and industrial production as ways of creating greater equality, a better world. 
Products of the modernist movements lacked decoration yet were enforced by Industrial design, function, machine and technology. Unlike the art and crafts movement, modernism was commercialised and lead by consumerism.

The arts and crafts movement of William Morris did not agree with machine production. He  was a committed socialist and designer who despised the exploitation of industrial capitalism and saw only misery in machine production. the movement was often inspired by nature, and featured hand carving, decoration and embroidery. 'Art should meet the needs of society'. The movements aim was to bring back the tradition of craftsmanship lost in the industrial revolution, and workers enjoying their chosen field of work. It also created something that could be kept, that was respected for its beauty and made from quality materials. Morris wanted quality goods to be created for everyone, not just the wealthy. But he soon discovered his aims were at odds with each other, a dilemma we still face today- hand made goods are generally more expensive than machine/ mass produced products.  

We still face this 'man-made vs hand-made' debate today especially within fashion. We are after all consumers, looking for a fast fix. The fashion industry has become highly dominated by mass consumerism, or 'throw away fashion'. The high desire for cheap fast fashion will never die as it allows the consumer to have the latest trend. But high street fashion does not have the same beautiful quality of a handmade, haute couture/designer garment.