Despite having a surprising positive majority of feedback, one comment regarding confusion of where my colours stemmed from really stuck with me as this aspect is something I also criticised myself for; even though I myself was aware of its origins, I felt that it was too weak, and as a result struggled with the colour journey throughout. I felt that my attempts to incorporate my print work from earlier on in my sketchbook dictated a less exciting collaboration (blue, white and black), with the accent colours on the armband more like an attempt to shoehorn the rest of my development in. This is something that I really want to improve next project, by really having a solid reason for each introduced colour.
Final Outcome Evaluation
Attach more successful illustrations
Despite being satisfied with my final outcome, I felt that I had to simplify my idea due to lacking the technical ability to manifest the designs that I have in my head and have documented earlier in my sketchbook (I would’ve loved to realise a further development, incorporating the embrace, of the illustrations pictured), which has been a consistent problem for me. I consider myself a fab problem solver as often I am able to slightly compromise on my ideas, achieving a similar effect in a different way, however with such complex, sculptural interactions with the body (as my designs often are) that hold so much weight, I didn’t know where to start. Conceptually, a simplification was successful due to the pairing back of the extreme collections of a hoarder to initiate recovery, however I feel as though, silhouette wise, my summary (that is how I see a final outcome) of my findings in response to my research and development, I could have selected one of my stronger, even more unconventional ideas. My ideas being way more advanced than my skill set, my mind working more sophisticatedly than my hands, being a constant obstacle for me in terms of my designs (I think this is why I struggle with development boards too - I can’t always visualise how a garment will fasten on the body, or which seam to select for example) is something I hope doesn’t hold me back in terms of application to BA; as long as I communicate the extent of my experimental approach to design with design development, I think I might be ok. I think in future though, I shouldn’t fear failure of an idea due to lacking technical ability, but rather just try it anyway.
I think I could have pushed the embrace further - I would’ve liked to have really embodied the concept by, instead of developing an embrace from selected tendrillic shapes of my initial research, maybe creating new research through utilising two hugging models, and draping on their bodies to emphasise the intertwinement, or even using my selected research shapes to drape on individual model and then asking them to embrace, documenting the results of the newly contorted silhouette. I think this stemmed from being too premature in selecting forms that I’d like for my final piece, and leaving a small amount of design development until after producing it due to time constraints. In terms of design development though, I think I have advanced a lot from where I started, as it is a really helpful aid in problem solving to extract complex designs onto paper, easier to rationalise than whirling around in my mind, particularly with the recordings of garment details. This project has been really informative in the way that I now understand in depth the vitality of complete design development before production, as well as learning to have conviction in my abilities (something which I think my depression and perfectionism make very arduous, but I am really pushing myself to advance past those thoughts :) ). Ah I really really wish I had more time on this project as although I’m really satisfied with the outcome, I really want to push it further after the process of a fashion project having really clicked in my mind.
4th January 2019
Beginning to realise my final lanyard following design development, I’ve selected an entangled embrace which is strong in form and intertwinement in my body I feel, but there were definitely more intriguing, experimental considerations that I envisaged and recorded in my sketchbook, but disregarded due to having no knowledge of pattern cutting, and struggling to understand how to manipulate basic skills learnt from books and online tutorials to work with unconventional form and silhouette. Drawing onto thin paper pinned to the body to identify necessary scale, I then created a toile of this particular piece to see how the shape would react as a form, with wadding introduced, really pleased with the immediate inference of the embrace with plush density. Next, I need to consider my fabrication for my second shape; I might return to the car boot to see whether I can find an object that somewhat reflects my textural experimentation, as a cohesive base to work into further.
3rd January 2019
Entangling successful shapes identified from mark making, negative space, and form became my next step, using acetate to aid in my composition considerations. My next step is to consider how they might intertwine with my samples, or whether elements of my samples should be translated directly onto the shapes, without ignoring past development work too. Although I’m really satisfied with my textural development, following Frances’ advice to take my unconventionality into something more refined nearing the outcome, I want to find a way to incorporate their essence in a more controlled manner, without losing my experimentalism. Maybe I could consider a texture / surface similar to my developments, yet with the ability to be more controlled with regards to embodying the sculptural embrace slickly; I think, as considered following exploring with my lampshade experiments, utilising one of my prints derived from my exploration of these textures could work nicely, maybe in conjunction with another found object from the car boot sale, as I am really pleased with my intertwined shoe. To introduce my own hand, maybe paint could be involved also, as I feel this is a strength of mine? I just need to try a few things out, but, always allowing my designs to develop organically, this is how I feel my ideas become the most successful, when I execute them with an open mind, allowing my hands and the materials to harmonise, trusting in my process, instead of being stubborn and fixed on an outcome, which is never the case with me.
2nd January 2019
Using the lampshade from the car boot to facilitate entanglement, I applied a developed combination of my earlier textural experiments of cotton wool and tubing to see if it would work beyond a relief sort of context; I felt as though it appeared messier than I had hoped, without the harmonious cohesion of a flat surface to work on like that of my sketchbook. As a result, I felt as though my embodiment of texture in a print form will be a more sophisticated avenue to pursue with development (particularly as, despite spray painting the lampshade and its clay orifices, applied by severing metal bars, and forming around rings, for unification, the textures looked jarringly alien - not the look I was going for), however I intend to finish the documentary in order to better inform my silhouette in terms of the entanglement that I am exploring.
Body of Work Evaluation
I feel a bit deflated with regards to work produced over Christmas, as despite working on these projects almost every day, for long hours as I would during term time, I think the fast-approaching application for BA really got into my head; I was more meticulous with how I worked, meaning although I feel my efforts have been of good quality (in my opinion), with reflection something I focused a lot of my time on to reach this point, both on Workflow but also more intensely constantly in my own mind, the quantity wasn't what I had hoped. I have always struggled with being over ambitious, but I think my heavy self criticism was even more so this Christmas that it meant that I found it really challenging to achieve what (usually unrealistic) goals I set myself; I usually am able to complete the reams and reams that I tell myself that I will, but often at the detriment of my mental health (I'm aware this may be a bit too personal for my Workflow reflection, however I want to communicate that I am very driven, determined and self-motivated with a strong work ethic but sometimes my mental health makes it difficult for me to realise what I set out to do. This isn't to be misunderstood as an excuse - I am immensely frustrated with myself that I couldn't achieve everything that I intended to this Christmas). I have planned exactly what I want to produce, but it just means that it will unfortunately be a little later down the line than I'd hoped, so am trying not to beat myself up about it too much. However, I feel as though I have learnt a lot about how I work with the lanyard project: development begins for me very early as I reflect very deeply all the time, meaning that I feel as though I am naturally thorough and concise working in my sketchbook, with a lot of elements such as form, silhouette, colour, concept often explored and developed on each page as opposed to drawn out over several (maybe this is something I could change, to communicate the extent of my development and thought process?). As a result, I have been working hard on trying to optimise my visual communication of my often abstract, experimental process, as this is very pertinent in ease of understanding my narrative. I do like how with both projects in Part Two, that form and tactility have dominated my sketchbook pages (this is what intrigues me the most about fashion, with my work being rather sculptural, especially with the introduction of the natural sculpture of the body), the time achieving which slows down the pace of filling my sketchbook; I feel as though my quantity of work can sometimes be measured width-wise rather than length-wise, if that makes sense. I just wish that there were more hours in the day to experiment with all of my ideas!!!!! As a result, controlling stress, combating perfectionism, time management, and feeling less guilt during the rare times when I'm not working on my projects are things that I am going to work really really hard to try and get a better hold on this year, to be as productive, both in quantity and quality, as possible.
26th December 2018
Despite wanting to look at silhouette further, after photocopying my pearl clay samples, I was really satisfied with the ambiance of unease synonymous with a dark vignette, very relevant to how I wanted to portray the texture of the bottom of my bag, obscuring my lanyard, and wished to depict this on a larger scale. I felt it was too early to produce an outcome with limited silhouette research and development through mainly just fashion illustration, so I worked in my sketchbook, conducting experimentation with foam, sponge, polystyrene, cotton wool, silicone, acrylic, scourers and pearl clay beforehand to consider proportion of hue, finding nuances of blue within dominating black and white allowed the nails-on-a-chalkboard-like textures to thrive as opposed to being consumed by colour (in these early stages the monochrome is working well, however as my research progresses, I hope to experiment more with colour composition).
I then moved onto lino printing as an immediate way of identifying successful form of my lurex sample, through 2D shape and mark, the contours created as a result of communicating highlight and shadow interesting in informing the sense of entanglement I am developing. Creating a viewfinder and placing this over some of my prints was incredibly helpful in finding intriguing shape and line, this searching for what I want to move forward with rather similar to my locating of my lanyard.
In order to combat this habitual search, I produced some further digital print work, moving forward my previous developments into a flatter form of intricacy, to consider an external manifestation of entanglement with the body, so all the gnarly textures of accumulating so many commodities are visible, fixing the ID card in place so no dirt in your fingernails is needed.
Cumulatively speaking, the intertwining of both 3D form, 2D relief, shape and silhouette is, like, sensory-overload to me, and allowed me to reflect on how much easier and more pleasant it would be for me to find my lanyard if I were to rid myself of this unnecessary junk in my handbag; this all the more heightened my sympathy for those who suffer with hoarding tendencies, as I feel such a greedy capitalist society does not aid their compulsions. I would like to help them in reducing their clutter, (much like I need to reduce mine, however I am aware that there are people more in need), so I am going to watch some documentaries to better educate myself on the origins of their way of life and ways in which they can be aided.
18th December 2018
Responding to my mark-making of observations of my gold and black-marbled ring, I pushed forward into 3D form, using cotton wool and painting it black with acrylic to embody both the tactility and imagined visuals of my fingers' encounters moving my hand around my debris-filled bag to feel for my lanyard, using the contortions of my lanyard as observed when I tipped my bag upside down to inform my considerations of how the objects tangle to hide it. The textile and form being so intriguing, I felt compelled to introduce the body even at this stage; I would like to explore entanglement further, possibly by identifying other interesting mark-marking from my observations.
Say and Do?
Expression of identity of collected objects which vibrate, which fill void of a relationship's embrace and buzz.
Therapist on hoarder next door encourages hoarder to reduce his collection to few personal items to be able to enjoy life again - pair back form and design for final (focus on successful form and shape) whilst maintaining embrace, like personal items, to keep hoarder comforted.
1st January 2019
Developing the form of my shoe with the constant consideration of my findings on entanglement, I deconstructed the leather into a multitude of parts to intertwine, really satisfied with the conceptual relevance and now unrecognisable origins. This is probably one of my favourite pieces I’ve ever made I think form-wise, with the contortions really bizarre and extravagant; I love being able to create one-off garments and samples, particularly in an industry where designs are ripped off and replicated so frequently. Most importantly though, I love that I am reducing waste with my repurposing, prolonging the life-cycle of an item. As a result, I intend to incorporate it into my final lanyard, as I feel it’s an expression of my own personal extreme collections (shoes), (as, after all, a lanyard facilitates your identity) an element of my life that makes it easy for me to empathise with hoarders.
19th December 2018
Inspired by my drawn response to the encasement of my purse's print from my handbag, I again developed a 3D form, creating depth in the hollow of the sample, as well as externally with surrounding the lanyard with boning, the bitty texture of the lurex particularly intriguing in its encapsulation of shards and crumbs in my bag. Due to this, I worked with pearl clay and a scourer, using silicone and then arcylic mixed with latex as an adhesive, to stronger communicate this feeling, pleased with the repulsive, indistinguishable aesthetic created, much like how you never really know what disgusting remnant you are touching. I intend to now focus on the exploration and development of the first form and its silhouette, as I feel it could be intriguing to manifest my considerations of entanglement in this way, the boning allowing for negative space which enables the fusing of objects' extremities.