CSM Knit, Print, Kingston & Westminster
Enthralled by the sculptural splendour of Vasconcelos' exhibits at a young age, gloriously foreign to my void of exhilaration towards absence of tactility of typical 2D works on a white-washed wall, my fascination with form was stimulated, igniting my desire for experimentation with media which enable sumptuous, contorted dynamism. Augmented by my environmentalism and chilling awareness of a waste-riddled fashion industry, my eagerness to explore how unorthodox, innovative shape, silhouette, texture, hue can evolve from banal origins is constant, amplified by the divine liberation of my Foundation course; my materials are often re-purposed or found, evoking intrinsically distinctive outcomes. What I find most electrifying is the body, of which is, naturally, the centrifugal focus of my work, due to its ability to propel form, both physically, in terms of its interaction with a sample completely transforming its identity through scale change, repetition or contorting to fit, or conceptually: I am particularly enraptured by how clothes initiate a sentiment of commune (tracksuits a proud advocate of modest upbringings, mini skirts of the 1960s a solidarity of freedom and empowerment), an anchoring divinity at odds with the industry's constant, hastened metamorphosis.
My intoxication with nature and its beautifully bizarre intricacies of construction inform a sense of the organic in how I design, both regarding physical form, such as allowing instinctive interaction of materials (maybe by uniting negative space with something of a converging diameter) or resisting that (forcing curves together, for example), this harmony or conflict an intriguing instigation of establishing a mood of a piece, and in relation to my process, with my in-suppressible impulse to manifest my mind's workings into 3D at the earliest observation; primary research is integral in initiating this, my enchantment with detail in my surroundings hugely channelling enthusiasm into my work as a result. Through being so experimental during my education, my incredible drive and persistence is in-ebbing, due to high element of risk, however this unwavering determination invokes thorough exploration of concept, as well as distinctive work that is purposeful, not just another contribution to mountainous landfill.
In addition to my verve, being politically-minded intriguingly intensifies my conceptual development. In A Level Textiles studies, I exposed humans' repugnant torture of the bird, accelerating their extinction for selfish scientific gain, through amplified hue (using colour meaning to strengthen visual communication is instinctive) and artificial fabric inferring human intervention, with fabric manipulation forming an army of enraged wings and extracted, unblinking eyes, and French knots becoming plucked follicles, bubbling in chaotic rage. Despite working independently on this project, with no teacher, Foundation has been incredibly influential in pushing me through a lack of conformity to strict criteria; enabling those risks to be taken has ignited a more informed, considered design process, particularly through developing my own research, my portfolio communicating my furthered independent intuitiveness.
As well as my approach to fashion being predominantly informed from outside of the industry, I adore the study of people; I cannot ignore who is, has, will wear clothes, as this alters form and its meaning again. I began modelling for Marques' Almeida this year; I adore their championed empowerment of women, amplifying the garments' beauty and individuality. It also enabled my understanding of a production's complexity, how the collaboration of ardour of every colleague mirrored an organ system: teamwork is a beautiful thing.
Your university is ideal to contest and advance my considerations of fashion; the vigour of the BA, met with my enthusiastic, self-motivated attitude to learning and expansive, advanced skill-set, assures that I will flourish.