hollybrookesbcu

[hollybrookesbcu]

Reference List Part 2

· The Cognitive Benefits of Being by Water (2013). Available at: https://www.wallacejnichols.org/234/554/the-cognitive-benefits-of-being-by-water.html (Accessed: 26/03/2021)

· The designer using fashion to raise mental health awareness. Amazing Humans. BBC 3. Available at: https://www.bbc.co.uk/bbcthree/clip/0af2efe4-3338-444e-b6ff-66c911c24561 (Accessed: 18/03/2021)

· The Environment’s New Clothes: Biodegradable Textiles Grown from Live Organisms. Erica Cirino (2018). Available at: https://www.scientificamerican.com/article/the-environments-new-clothes-biodegradable-textiles-grown-from-live-organisms/ (Accessed: 04/04/2021)

· The madness of Vincent Van Gogh (2016). Available at: https://www.spiked-online.com/2016/08/26/the-madness-of-vincent-van-gogh/ (Accessed: 17/03/2021)

· The science behind the ripples and wakes in the water (2013) Peter Lynch. Available at: https://www.irishtimes.com/news/science/the-science-behind-the-ripples-and-wakes-in-water-1.1394676 (Accessed: 13/05/2021)

· The Underlying Truth of Life. Rare.us (2021). Available at: https://nfhsraiderwire.com/showcase/2021/01/28/the-underlying-truth-of-life/# (Accessed: 13/05/2021)

· The water cycle and river terminology. Available at: https://www.bbc.co.uk/bitesize/guides/z4bk7ty/revision/1 (Accessed: 07/04/2021)

· Thompson Lake #4. Available at: https://www.zariaforman.com/thompson-lake (Accessed: 23/03/2021)

· Transport in cells – AQA. Available at: https://www.bbc.co.uk/bitesize/guides/zs63tv4/revision/4 (Accessed: 07/04/2021)

· Triarchy Atelier Denim at Design Forward 2017 (Leann Parker). Available at: https://climateimpactnews.com/solutions/2871-fashion-designers-respond-to-environmental-crisis (Accessed: 04/04/2021)

· University of Northampton, Courtney Allen. Available at: https://www.pinterest.ie/pin/456271005989575424/?amp_client_id=CLIENT_ID(_)&mweb_unauth_id=%7B%7Bdefault.session%7D%7D&amp_url=https%3A%2F%2Fwww.pinterest.ie%2Famp%2Fpin%2F456271005989575424%2F&from_amp_pin_page=true (Accessed: 17/03/2021)

· Veli bagnati. Available at: http://www.carinafrancioso.com/homepage (Accessed: 23/03/2021)

· Victor Harbor, Australia. Dan Stark. Available at: https://unsplash.com/photos/DLwUVlzrP0Q (Accessed: 04/04/2021)

· Waianapanapa’s Tide on the road to Hana. Available at: http://www.carinafrancioso.com/homepage (Accessed: 23/03/2021)

· Waipi’o Valley, Hawaii no.3. Available at: https://www.zariaforman.com/hawaii (Accessed: 23/03/2021)

· Water Always Finds Water by Original Unknown Girl. Available at: https://www.poemhunter.com/poems/Water/page-1/79881/ (Accessed: 26/03/2021)

· Water by Pablo Neruda. Available at: https://www.poemhunter.com/poems/Water/page-1/79881/ (Accessed: 26/03/2021)

· Water Picture by May Swenson. Available at: https://www.poemhunter.com/poems/Water/page-1/79881/ (Accessed: 26/03/2021)

· Water Ripples Texture. By Mike Enerio. Available at: https://freestocktextures.com/texture/water-ripples,889.html (Accessed: 13/05/2021)

· Water Ripples. Etienne Beauregard. Available at: https://isorepublic.com/photo/water-ripples/ (Accessed: 13/05/2021)

· Water’s Logical Benefits. Lauren Suval (2014). Available at: https://psychcentral.com/blog/waters-psychological-benefits#1 (Accessed: 26/03/2021)

· Waterwaves raindrops on water surface. Patrick Nordmann (2016). Available at: https://commons.wikimedia.org/wiki/File:Waterwaves_raindrops_on_water_surface.jpg (Accessed: 04/04/2021)

· Wave Power – The Theory Behind Ocean Waves. By G.P. Thomas (2012). Available at: https://www.azocleantech.com/article.aspx?ArticleID=227 (Accessed: 07/04/2021)

· Where Dance and Fashion Collide. By Iris van Herpen and Damien Jalet (2020). Available at: https://www.nytimes.com/2020/05/30/opinion/dance-fashion-herpen-jalet.html (Accessed: 22/03/2021)

· World’s Longest and Most Dangerous Swims. By Hristina Byrnes (2016). Available at: https://www.theactivetimes.com/water/n/worlds-longest-and-most-dangerous-swims (Accessed: 13/05/2021)

· Yiqing Yin F/W 2012/13 & Sea surface. Available at: https://www.demilked.com/contrast-fashion-nature-liliya-hudyakova/ (Accessed: 23/03/2021)

[hollybrookesbcu]

Reference List

· 10 Spectacular and Stirring Waterfall Hikes in the USA. Photo by Geoff Chang on Unsplash. Available at: https://www.frommers.com/slideshows/848417-10-spectacular-and-stirring-waterfall-hikes-in-the-usa (Accessed: 13/05/2021)

· A candle flame (2018). Available at: https://www.abc.net.au/news/2018-12-19/a-candle-flame-1/10548046?nw=0 (Accessed: 22/03/2021)

· A high-intensity prescribed fire consumes trees on the Fishlake National Forest in Utah in June. Roger Ottmar (2019). Available at: https://www.cpr.org/2019/10/24/burning-questions-researchers-to-ignite-a-utah-forest-to-study-fire-and-smoke/ (Accessed: 22/03/2021)

· A Passion For Pleats From Fashion To Architecture. Laura Arrighi (2019). Available at: https://www.elledecor.com/it/best-of/a26330181/trend-fashion-architecture-design-2019-pleats/ (Accessed: 22/04/2021)

· Adidas revamps its iconic Stan Smith sneaker with recycled materials. By Maya Ernest (January 2021). Available at: https://www.inputmag.com/style/adidas-stan-smith-recycled-materials-sustainable (Accessed: 26/05/2021)

· Alaska Cruise Collection – Frozen Water. Available at: https://www.scrapbook.com/store/spc-37009.html (Accessed: 04/04/2021)

· Alexander McQueen sculptural collection. Available at: https://www.vogue.co.uk/gallery/alexander-mcqueen-va-savage-beauty-preview-pictures-inside (Accessed: 16/04/2021)

· AlgiKnit. Available at: https://www.algiknit.com/about-us (Accessed: 04/04/2021)

· Beatriz Oggero ‘Fire’. Available: http://www.alisonschwabe.com/weblog/?m=201710 (Accessed: 22/03/2021)

· Big Summer Wave, 2010. Available at: http://thehiddengemm.blogspot.com/2015/07/art-eye-big-summer-wave-maggi-hambling.html (Accessed: 16/04/2021)

· Biology Water Movement. Available at: https://www.cliffsnotes.com/study-guides/biology/biology/vascular-plants-structure-and-function/water-movement (Accessed: 04/04/2021)

· Blue Mind: The Health Benefits of Being by the Water. Nicola Brown (2017). Available at: https://www.fix.com/blog/benefits-of-being-near-water/ (Accessed: 26/03/2021)

· Blue Water Ripples. Jonas Verstuyft (2017). Available at: https://commons.wikimedia.org/wiki/File:Blue_water_ripples_(Unsplash).jpg (Accessed: 13/05/2021)

· Bronte, Australia. Available at: https://unsplash.com/photos/4SUE85iGMJU (Accessed: 04/04/2021)

· Bronwyn Seier Design at Forward 2017 (Leann Parker). Available at: https://climateimpactnews.com/solutions/2871-fashion-designers-respond-to-environmental-crisis (Accessed: 04/04/2021)

· Bugs Garson: Dressing The Letters My Grandmother Wrote (2019). Available at: https://1granary.com/designers-3/schools/parsons/bugs-garson-dressing-the-letters-my-grandmother-wrote/ (Accessed: 17/03/2021)

· Carolyn Saxby interview: Timeless textiles. Available: https://www.textileartist.org/carolyn-saxby-textile-artist/ (Accessed: 22/03/2021)

· Christian Siriano FW2021 NYFW Show – Runway. Available at: https://graziamagazine.com/wp-content/uploads/2021/02/Look-5.jpg?fit=2000%2C3000&resize=2000%2C3000 (Accessed: 22/04/2021)

· Claudia Anselmi. Monochrome One hundred and five shades of red. Available at: http://www.claudiaanselmi.com/mono-en.htm (Accessed: 22/03/2021)

· Clear Water by Pia Andersson. Available at: https://www.poemhunter.com/poems/Water/page-1/79881/ (Accessed: 26/03/2021)

· Climate change: Australia fires will be ‘normal’ in warmer world. Matt McGrath (2020). Available at: https://www.bbc.co.uk/news/science-environment-51094919 (Accessed: 22/03/2021)

· Come to the river. Available at: http://www.carinafrancioso.com/homepage (Accessed: 23/03/2021)

· Creating Repeat Prints 101. Available at: https://www.accentonprint.com/news/2016/05/06/creating-repeat-prints-101/ (Accessed: 26/05/2021)

· Creative Fabric Manipulation Designs and Techniques. Available at: https://www.lifechilli.com/fabric-manipulation-designs/ (Accessed: 22/04/2021)

· Debbie White ‘Snares’. Available at: https://www.textileartist.org/debbie-white-conception-creation/ (Accessed: 17/03/2021)

· Debbie White, Extended Snare. Available at: https://www.textileartist.org/debbie-white-conception-creation/ (Accessed: 17/03/2021)

· Debbie White, Lattice. Available at: https://www.textileartist.org/debbie-white-conception-creation/ (Accessed: 17/03/2021)

· Debbie White, Work in Progress. Available at: https://www.textileartist.org/debbie-white-conception-creation/ (Accessed: 17/03/2021)

· Decay is beautiful. Samorn Sanixay (2021). Available at: https://garlandmag.com/article/decay-is-beautiful/ (Accessed: 17/03/2021)

· Drying organic silk dyed with bacteria. Credit: Laura Luchtmand and Ilfa Siebenhaar. Available at: https://www.scientificamerican.com/article/the-environments-new-clothes-biodegradable-textiles-grown-from-live-organisms/ (Accessed: 04/04/2021)

· Exhale. My body not yours. Available at: https://www.exhalelabel.com/blogs/exhale-warriors/my-body-not-yours (Accessed: 18/03/2021)

· Exhale. Our story. Available at: https://www.exhalelabel.com/pages/our-story (Accessed: 18/03/2021)

· Exhale. The Norah. Available at: https://www.exhalelabel.com (Accessed: 18/03/2021)

· Exhale. The Pallavi Tee. Available at: https://www.exhalelabel.com (Accessed: 18/03/2021)

· Exhale. The Shauna. Available at: https://www.exhalelabel.com (Accessed: 18/03/2021)

· Firefighters work to keep the Bobcat fire from jumping the Angeles Crest Highway north of Azusa, California, on 21 September. Kyle Grillot (2020). Available at: https://www.theguardian.com/us-news/2020/sep/22/california-fires-los-angeles-us-west-coast-wildfires (Accessed: 22/03/2021)

· Five designers tell us what the fashion world can learn from their home town. By various authors (08 February 2019). Available at: https://www.britishcouncil.org/voices-magazine/five-designers-tell-us-what-fashion-world-can-learn-their-home-town (Accessed: 26/05/2021)

· Flames and Smoke from Tires on Fire 2. Available at: https://videohive.net/item/flames-and-smoke-from-tires-on-fire-2/11770816 (Accessed: 22/03/2021)

· Flames by Folio Collection. Available at: https://www.photowall.co.uk/in-flames-canvas-print (Accessed: 22/03/2021)

· Floods. Available at: https://www.who.int/health-topics/floods#tab=tab_1 (Accessed: 07/04/2021)

· Garden fires are a cause for concern. Available at: https://www.cheshirefire.gov.uk/news-events/latest-news/garden-fires-are-a-cause-for-concern (Accessed: 22/03/2021)

· Gareth Pugh (2017). Available at: https://www.vogue.com/fashion-shows/fall-2017-ready-to-wear/gareth-pugh/slideshow/collection#1 (Accessed: 17/03/2021)

· Ghost Whisperer by Eva Charkiewicz. Available at: https://www.theguardian.com/healthcare-network/gallery/2018/jan/17/eight-artworks-inspired-mental-health-problems-pictures (Accessed: 18/03/2021)

· Golden Hour. Available at: http://www.carinafrancioso.com/homepage (Accessed: 23/03/2021)

· Grace Oliver (2020). Available at: https://bcuportfolio.com/grace-oliver/ (Accessed: 17/03/2021)

· Hades, Carrington Cardigan. Available at: https://hades-shop.co.uk/collections/shop (Accessed: 18/03/2021)

· Hades, Oh Bondage Gig. Available at: https://hades-shop.co.uk/collections/shop (Accessed: 18/03/2021)

· Hades, The Cure. Available at: https://hades-shop.co.uk/collections/shop (Accessed: 18/03/2021)

· Hong Kong building photography. Michael Wolf “Architecture of Density” Series – Hong Kong. (Accessed: 16/04/2021)

· How do I achieve the mirror effect with water? (2014). Available at: https://photo.stackexchange.com/questions/40680/how-do-i-achieve-the-mirror-effect-with-water (Accessed: 26/05/2021)

· Huntington Beach, united States. Sun, sea and surf. Jeremy Bishop. Available at: https://unsplash.com/photos/qH7cYCMF10M (Accessed: 04/04/2021)

· Iceberg, Antarctica no.2. Available at: https://www.zariaforman.com/antarctica (Accessed: 23/03/2021)

· Image # 898267 by Breaking The Walls. Available at: https://www.crushpixel.com/stock-photo/blue-water-ripples-surface-texture-898267.html (Accessed: 04/04/2021)

· Jean Louis Sabaji S/S 2013 & Clouds. Available at: https://www.demilked.com/contrast-fashion-nature-liliya-hudyakova/ (Accessed: 23/03/2021)

· Jourden_Fall 2018-23. Available at: https://loveandpr.com/2018/03/anais-jourden-fall-2018-runway-collection/jourden_-fall-2018-23/ (Accessed: 22/04/2021)

· Juno Surf. Leo Roomets. Available at: https://unsplash.com/photos/_asfY_cHGNk (Accessed: 04/04/2021)

· Lina Michal. Available at: https://stylecaster.com/hm-design-awards/slide8 (Accessed: 22/04/2021)

· Maggi Hambling: Waves and Waterfalls, 2008. Available at: https://www.artrabbit.com/events/maggi-hambling-waves-and-waterfalls (Accessed: 16/04/2021)

· Maldives no.3. Available at: https://www.zariaforman.com/the-maldives (Accessed: 23/03/2021)

· Maldives no.5. Available at: https://www.zariaforman.com/the-maldives (Accessed: 23/03/2021)

· Mariko Kusumoto. Available at: https://www.instagram.com/marikokusumoto/ (Accessed: 15/04/2021)

· Michael Angove, Jo Malone London. Available at: http://www.michaelangove.com/portfolio/jo-malone-london/ (Accessed: 17/03/2021)

· Michael Angove. Available at: http://www.michaelangove.com (Accessed: 17/03/2021)

· Model protests Gucci’s ‘offensive’ mental health imagery at Milan show (2019). Available at: https://edition.cnn.com/style/article/gucci-protest-milan-intl-scli/index.html (Accessed: 17/03/2021)

· Moschino Fall 2016 (by Nicole Phelps). Available at: https://www.vogue.com/fashion-shows/fall-2016-ready-to-wear/moschino?utm_medium=internal&utm_source=vogue.co.uk (Accessed: 22/03/2021)

· Nathan Dumlao. Available at: https://unsplash.com/photos/6c3YZbCboyI (Accessed: 30/03/2021)

· Nathan Dumlao. Available at: https://unsplash.com/photos/6c3YZbCboyI (Accessed: 04/04/2021)

· Octopus Skin Inspires Clothes That Double as Displays. By Bethany Halford, Chemical and Engineering News (2016). Available at: https://www.scientificamerican.com/article/octopus-skin-inspires-clothes-that-double-as-displays/ (Accessed: 04/04/2021)

· Our World’s Oceans: Where is it the Most Dangerous? Available at: https://swimmerpro.com/most-dangerous-ocean/ (Accessed: 13/05/2021)

· Peggy Sue Collection at Design Forward (Leann Parker). Available at: https://climateimpactnews.com/solutions/2871-fashion-designers-respond-to-environmental-crisis (Accessed: 04/04/2021)

· Pictures of the Day: 20 June 2017. Available at: https://www.telegraph.co.uk/news/2017/06/20/pictures-day-20-june-2017/people-walk-pavement-water-mirror-fountain-whose-system-alternates/ (Accessed: 2021)

· Purposeful Talent Development: The Ripple Effect Of Individual Development (2020). Available at: https://www.cumanagement.com/blogs/2020/09/28/purposeful-talent-development-ripple-effect-individual-development (Accessed: 13/05/2021)

· Reflection, rotation. Available at: http://www.teachnetuk.org.uk/2005%20Projects/Art-RepeatPattern/repeating%20patterns/Pages/WhatIsPattern.htm (Accessed: 26/05/2021)

· Ripples on water surface Premium Photo (2019). Available at: https://www.freepik.com/premium-photo/ripples-water-surface_3516811.htm (Accessed: 13/05/2021)

· Samantha French. Available at: https://www.samanthafrench.com/about (Accessed: 23/03/2021)

· Semicircle Ripples on the Water. Byheaven87. Available at: https://www.dreamstime.com/stock-photo-semicircle-ripples-water-image20753740 (Accessed: 13/05/2021)

· Silent Shout by Eva Charkiewicz. Available at: https://www.theguardian.com/healthcare-network/gallery/2018/jan/17/eight-artworks-inspired-mental-health-problems-pictures (Accessed: 18/03/2021)

· Silk textile exposed to S.Coelicolor bacteria for 34 days. Credit: IMMATTERS Studio. Available at: https://www.scientificamerican.com/article/the-environments-new-clothes-biodegradable-textiles-grown-from-live-organisms/ (Accessed: 04/04/2021)

· Small samples of bacteria-dyed silk in petri dishes. Credit: Laura Luchtmand and Ilfa Siebenhaar. Available at: https://www.scientificamerican.com/article/the-environments-new-clothes-biodegradable-textiles-grown-from-live-organisms/ (Accessed: 04/04/2021)

· Structural and Architectural Water and Air constructions: Iris Van Herpen’s Haute Couture A/W 2017. Available at: https://irenebrination.typepad.com/irenebrination_notes_on_a/2017/07/iris-van-herpen-aw17.html (Accessed: 22/03/2021)

· Summer Wave With Gull, 2017. Available at: https://www.mutualart.com/Artwork/Summer-wave-with-gull/70721872C0F0EB83 (Accessed: 16/04/2021)

· Susan Hotchkis, Old Derelict Train (2016). Available at: https://www.textileartist.org/susan-hotchkis-conception-creation/ (Accessed: 15/03/2021)

· Susan Hotchkis, Old Derelict Train (detail) (2016). Available at: https://www.textileartist.org/susan-hotchkis-conception-creation/ (Accessed: 15/03/2021)

· Susan Hotchkis, Rust-rose (2016). Available at: https://www.textileartist.org/susan-hotchkis-conception-creation/ (Accessed: 15/03/2021)

· Susan Hotchkis, Rust-rose (detail) (2016). Available at: https://www.textileartist.org/susan-hotchkis-conception-creation/ (Accessed: 15/03/2021)

· Team #GROWAPAIR Present at Biodesign Challenfe Summit (2017). Available at: https://news.fitnyc.edu/2017/06/19/team-growapair-to-present-at-biodesign-challenge-summit/ (Accessed: 04/04/2021)

· Techno Sirens in Neuroscience: Iris van Herpen Haute Couture S/S 2020. Available at: https://www.irenebrination.com/irenebrination_notes_on_a/2020/01/ivh-hc-ss20.html (Accessed: 22/03/2021)

[hollybrookesbcu]

Evaluation

From this module I wanted to be able to convey the movement and textures of water, through textile techniques. I began by researching artists who and done this. For example, Iris Van Herpen. Van Herpen was initially a very big inspiration for my work. Her work inspired me and helped me to solidify my narrative; from looking at the way she created garments that have movement and flow, I was inspired to also create a similar effect. I decided to not use the same techniques as Iris, but to explore other techniques that would give the same effect. Therefore, I created a range of samples that did this.

I took primary research images of water drops on windows, rippled water in a canal and images of the sea. I gained a variety of different images, in order to give me the largest bank of knowledge to work from; I took images of both still and aggressive water. I mimicked the textures and patterns from my primary research in my work. For example, I replicated the foam that I saw on waves, and I used the lines from the ripples in the water to inspire my pleats and pin tucks.

I developed shibori during this module. My first shibori sample was not very defined, however, I later created final shibori samples that were very effective and defined. I also used a lot of pleating during this module, which I feel has now become something that I am very strong at, and something that I can use in future projects. I had also never used shirring elastic, before this module, and I successfully created effective shirring elastic samples.

My experimentation was very successful because I experimented with a lot of techniques and my final samples included a wide variety of different techniques. My experimentation led me to create samples that were unique and that were very intentional and well thought out.

I could have refined my experimentation by taking some of my samples an extra step further. For example, I could have spent more time experimenting and refining my shibori samples, in order to see what I could create.

I made a plan of all of the weeks we had to complete this project, so that I could then plan when I would be sampling and when I would be beginning to put my boards together, for example. I felt that my planning and production was concise, and I allowed myself adequate time to sample and refine my samples, and then to create my final boards.

I had a few problems throughout this module. One problem I faced was when piecing my boards together, I struggled to find a way to stick my samples with net to my boards. I tried many different ways of sticking them, until I eventually found a solution.

I feel that I have progressed quite far, as a textiles student, thought this project. I have learnt many new techniques which I can develop further in future modules, and I have also learnt about many new designers that can influence later work.

I am pleased with my final outcome. I feel that it was developed as far as it could have been. If I was going to develop it further, I would consider making a third board and adding more samples.

[hollybrookesbcu]

Final Boards

These are my two final boards. I decided to arrange them so that the different textures are evenly distributed between the boards. For example, so that there is shibori on each board, pleating on each board and plastic on each board, so that each board shows all of the different elements of my narrative, and each board shows the different textures associated with my narrative.

I feel that my boards are very successful. The black background emphasises the plastic and, on the samples with net, it shows the net very well, meaning that you can clearly see the textures.

I think that the way in which the threads hang is successful because it shows the movement of my samples, which conveys the movement of water, meaning there is a direct link to my narrative.

[hollybrookesbcu]

Planning My Final Outcome

After looking at my samples, I decided that I wanted to create two final boards with my final samples on. They will be size A1 and they will be black, as I decided that this colour showed my samples in the best way; on black you can see, for example, the net more clearly. 

I considered using white boards and window mounting my samples, which I would then hand from the ceiling, so that you can see the threads hanging, and the movement in the samples. However, I decided that being able to see a background and shadows would be very distracting, therefore I chose to use black boards. 

[hollybrookesbcu]

Sketchbook Development

My pages in my sketchbook are all quite similar. I placed samples next to images that looked similar to show my inspiration. I feel as though this is very successful because you can see clearly my thought process. On these pages, you can see the way that I arranged my samples, to show their relation to my narrative.

[hollybrookesbcu]

Developing Final Samples

These samples are some of my final samples and how I have developed them for my final boards. 

I looked through my samples and decided that my puff binder samples are very effective (which I explained in a previous post) therefore, I felt that they would be effective as a final sample. I decided to develop these by adding French knots throughout the samples, where the foam on the water would be very high, or where there might be splatters of water. I think that this made the samples a lot more successful. It added another texture to the sample and enhanced the most prominent areas. This sample attracts the eye and makes the print appear three-dimensional, making it an effective sample. 

I decided to develop my previous direction pleat samples, by recreating them onto a nicer piece of plastic. I felt that this was very successful because I created a sample that is very neat and shows the stillness of water. 

I created this sample (I have spoken about it in depth, in a previous post) and decided that it was effective enough to be a final sample. While I was deciding this, I attempted to recreate the sample but larger. When I did this, I used tin foil and sandwiched the plastic in-between (to bond the blue plastic with the clear plastic) and the foil lets an indentation. In the plastic, that looks very similar to the way water looks when the wind blows it. I pleated with this, however, I decided that it was less effective than my original sample, because the wavy lines in the new sample distracted away from the pleats.

However, I felt that the wavy effect in the plastic was quite effective, and I decided I wanted to develop this further. I did this by creating a small rectangle of this wavy plastic, which I then embroidered into, leaving threads hanging. I felt that this looked very interesting because it mimicked, not only the way water looks, but also the way that it moves. Therefore, I decoded that I would like to use it as a final sample.  

I decided to further develop my previous shirring elastic samples, by creating a ‘cluster’ of the peaks that are created, when you sew shirring elastic in a spiral. I think that this sample is very effective because the texture is very interesting and unlike the other textures that I have exhibited in my other samples, therefore, it adds diversity to my samples. I think that the choice of white thread is also very effective because it peeks out just like when light is reflected on water, and you see small areas of white.

This is also a previous sample that I chose to develop. I developed it by recreating it but onto a nicer and thicker plastic, in order to maintain a professional effect. I think that the contrast between the neat pleats and the chaos of the hanging threads is very effective because it is a response to the juxtaposition between still and aggressive water. 

I decided to develop my shibori samples by sewing small circles onto fabric and then cresting shibori so that the bumps have rings on them, that have been stitched, that look like circular ripples in water. I used a white bobbin and a dark blue thread to show the light that shines on water. I feel that this sample is quite effective as a final sample because it adds variety to my bank of samples, as it is a different texture to many of my other samples. 

I was shown this sample that is displayed at BCU and felt that it was very interesting. The texture immediately grabbed my attention. Therefore, I decided to replicate it. I used plastic to do this and made it much smaller. I felt that this ample was very intriguing. It shows an element of water (the way that water and waves fold on themselves) and conveys this in an exciting way.

I created this sample because I had looked at my other pleated plastic samples and felt that they were lacking something, therefore, I decided to create a pleat sample onto plastic, with net behind. I felt that this was quite successful because it added an extra texture to it that was very interesting. However, it was still quite uninteresting. Therefore, in decided to cut away some of the plastic in-between the pleats so that the net was clearer. I felt that this made the sample a lot more interesting because the net was more visible, meaning that it was a lot more interesting. 

I developed the previous shibori that I did by experimenting with a better way to create it. I had previously used the steam from an iron to seal the fabric, however, this didn’t work very well, so instead I decided to boil the fabric. I found that this worked a lot better as the circles were a lot more defined. Therefore, I decided that this sample would work well as a final sample because it adds more texture and colour to my other samples. 

I decided to include this sample with my final samples. I have spoken about this sample previously, and I decided to recreate it but slightly larger, as a final sample because it is very neat, which contrasts from my other, more messy samples.

This is another sample that I recreated but larger, as a final sample. My previous sample was very successful, so I wanted to recreate this, however, I made it a larger sample so that it draws more attention. I think that the frayed edges of this sample adds an exciting texture to contrast the plastic final samples that I have created. The blue fabric is going in a slightly diagonal direction, which I find is very effective, because it shows the direction of water, meaning my sample effectively conveys my narrative. 

I created this sample as a final sample, after having previously creating a similar sample, which turned out to be very effective. I further developed the previous sample, by sewing pieces of net in the gaps between the pin tucks. I think that this sample is incredibly effective. There is a combination of textures, making it very visually exciting and the net is a response to the bubbles in water, and the pleats show the still, ripples in water.

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Experimenting With Cut-outs

At the start of this module, I stated that I wanted to attempt to experiment with cut-outs, into plastic, in the same way that Iris Van Herpen did. I noticed that she had to use quite rigid materials in order to make the samples work, therefore, I chose to bond about three layers of a thick plastic together, in order to make the plastic as rigid as possible. I then, using a craft knife, cut slits horizontally throughout the sample.

I felt that this was very ineffective because, after cutting the slits, I tried to bend the plastic and move the plastic to create a similar effect to Iris, however, I felt that this wasn’t possible, and I could not figure out why. Because this sample was very unsuccessful, I decided to focus my time on refining some of my more successful samples, such as my pleated samples and shibori.

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Primary Research

Here are some photos that I’ve taken that convey my narrative of water, and the different forms of water.

These images are of the sea and waves crashing. I felt that they were very relevant to my work. The images of the sea shows the way that the sun creates light spots on the water. Which I have demonstrated throughout my work with the use of white thread and, in some areas, French knots. You can also see the way that the waves crash and the foam and bubbles that are created when this happens. I will use this to inspire me when considering how I can show water through my work. You can also see areas of water where it is folder (where a wave is being created). I have conveyed this fold through pleating.

These images are all different images that I took where I noticed water in my everyday life. The first image shows a streak of water on a window, with a puddle in the background. This shows the different forms of water; it can be in a streak form, or it can be in a puddle form. There is also an image of a window, where there are water droplets, and an image of water droplets in a line on a window. This shows the different shapes that water comes in; not only does it come in a puddle or wave form, but it also comes in drops (small circles). I also took an image of water on a canal on a windy day, where the water is quite rough, showing the contrast between bumpy water and still water.

These images show water flowing out of a canal. You can see ripples in the water and foam and bubbles in the water, which is useful to my work because I can use this imagery to replicate and mimic through my textile techniques.

These images show water on a run-down day, where water as a mirror is clearly shown; you can see the reflections of the boats and birds on the water. There are also ripples in the water, which shows the straight lines associated with water ripples, and this can be conveyed through pleating or pin tucks.

These images show rough water, which is a contrast from the other images, that demonstrates the juxtaposition of calm still water and rough aggressive water.

All of these images give me a strong bed of research to work with. They show the different forms and shapes of water. I will use these images to inform my work and as visual imagery to help convey my narrative.

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New Images

These are some images that I found that convey my narrative and show the shapes and textures that I am trying to convey with my work.

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Why I'm Using Recycled Plastics

A large number of my samples, including some of my samples will/ have been developed using plastic. One reason that I have chosen to do this is because I wanted my work to be sustainable and to be able to demonstrate that sustainability can also be incredibly visually exciting. As I detailed in an early post, fashion is partly responsible for damaging the environment, which is something that I feel needs to be changed, therefore, I used my work to do this. The plastic I have used has all been recycled, therefore, gaining materials for my project has not caused harm to the environment in anyway, whereas, if I had bought new plastics, these plastics would have had to be produced, which would have caused harm.

Another reason why I have chosen to use plastic in my work is that I feel it is an accurate representation of water. Plastic I have used is either translucent or transparent, much like water is, therefore, it conveys my narrative. Also, when the light hits plastic it creates a shine which mimics the way the sun shines on water.

Texture is also very important in my narrative. I have attempted to use a variety of textures in order to create the most interesting and exciting samples, and plastic allows me to explore a new texture. The plastic is quite smooth and sometimes rigid, which contrasts from the often rough, flexible fabric.

I think that using plastic has been very effective in my work, and I think that it shows my unique style.

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Further Development Of My Samples

For this sample, I decided to pleat with a layer of plastic and a layer of fabric, in order to see how this might be effective. I used plastic and fabric because I thought that the contrasting textures might be interesting. Not to mention, the blue mimics the colour of water and the plastic looks similar to the light that shines on the water. I decided to cut into the pleats so that you could see the plastic. I felt that this was incredibly successful. The edges of the fabric began to fray which created a new texture to my samples, and the plastic poked through the fabric, making it look like light shining on water. This is effective because, not only is it interesting to look at, but it also shows my narrative clearly, meaning viewers can understand the sample.

For this sample, I decided to create a trim on a piece of fabric, using plastic to create pleats. I did this out of curiosity, as I wondered how this might look. I felt that this sample wasn’t very effective because the plastic made the blue look like more of a dirty colour, therefore, creating pleats with plastics did not add anything to this plastic, meaning it is unsuccessful because it isn’t visually exciting.

For this sample, I created pin tucks with different coloured threads, and large gaps in between the pin tucks that were cut out. I decided to use coloured threads because all of the pin tucks that I had created thus far had been creating using white thread, therefore I chose to experiment with both a dark blue thread, a light blue thread and I used a while bobbin so that some white threads were visible through the fabric, to mimic the light spots on water. I cut holes into the plastic because, not only did it create an interesting and unique style, but when held, the sample had very interesting movement, the way it moved was very similar to the soft movement of water. I also had the idea of potentially taking this sample further by putting a different, contrasting material in the gaps, such as a piece of fabric that has a different texture or netting, as this would make the sample a lot more interesting. I also decided that I wanted there to be threads hanging from the pin tucks, as this looks similar to the way that water might fall in a waterfall, therefore, it relates directly to my narrative. When creating this sample, the tension on the sewing machine that I was using was not working very well, which meant that in some areas of the sample, there are loops of thread. This was unintentional, however, I decided that it made the sample a lot more interesting as it added another element of detail, and the loops looked very similar to round bubbles in water. Overall, I felt that this sample was very visually exciting because it had an interesting texture and the different elements I used (such as the colour of threads and the choice to allow the threads to hang) makes the sample very diverse, and makes the viewers want to look at it and examine it further. Therefore, this sample is very successful.

For this sample, I decided to create pin tucks using a dark blue thread, with some bigger pleats that had trapped yarns inside them. I decided to do this because I examined my plastic pleated samples and decided that they were lacking colour and other textures. I think that this sample is quite effective because the plastic makes the threads and the three-dimensional element of the sample, look as though they are floating, much like the way that objects float in water. If I were to develop this sample, I would put the different coloured yarns in a different order, so that they give an ombre effect, because this might make the sample look neater and more refined.

I created this sample by creating small pleats into plastic using a dark coloured thread, because this is something that I hadn’t yet experimented with. I felt that this was very effective because it added some colour to the sample, meaning not only is there an interesting texture (the pleats) there is also some colour which makes the sample look more interesting and refined.

For this sample, I experimented with other ways that I can incorporate coloured yearns into my samples. I decided to create pleats and then sew the yarns in-between the pleats. I firstly did this on a thin plastic and I decided that this sample was very effective because there was a contrast of textures, between the smooth plastic and the fluffy yarn, which made it very interesting, however, the thin plastic wasn’t very effective because it looked quite dirty and unappealing, therefore, I recreated it on a thicker plastic that is much clearer. This was more effective because it meant that the coloured yarns were more visible, making the sample more visually exciting. I also think that the use of hanging threads worked well, because they went in a different direction to the pleats, creating a contrast. This is effective because it is visually engaging, meaning it intrigues viewers.

I made another sample that was plastic pleats with a contrasting-coloured thread, but this time I created different sized pleats, to represent the different sized waves in the sea. I think that this worked quite well because the pleats directly related to my narrative, meaning it is refined and intentional.

Here, I used a thin plastic and created pleats, using a dark blue thread, of different sizes and trapped different coloured yarns inside the pleats. I did this in order to incorporate more colour into my plastic samples and to see how this would look with different sized pleats. I thought that this was very interesting because in the bigger pleats, the yarns hung more, and in the smaller pleats, they were more rigid and stuck in one position. I think that this sample is very effective because not only does it convey my narrative, but it does it in an exciting and engaging way. If I were to develop this sample further, I would recreate it with a thicker plastic.

I decided to experiment with aqua film, as I wanted there to be a more diverse range of samples. I experimented with creating a trim, on the bottom of a piece of plastic, and by cutting out shapes and embroidering into them. For the cut-out sample, I used a craft knife to trace waved lines, from an image of the sea, to ensure that the shapes I cut out were similar to that of my narrative. I then, using these same shapes, created my second sample, where I created a trim. I think that these samples were both ineffective. The lines I had stitched appeared messy and unorganised, therefore, they were not visually pleasing; which means people won't be drawn to look at the samples, which is what I want my work to achieve. I don't think that I will develop my aqua film samples any further.

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Development Of My Samples

For this sample, I attempted to create direction tucks with a thin plastic. I did this because I wanted to develop my samples further. This sample was quite successful because it created an interesting texture and, from far away, the sample looks like waves, which means it relates directly to my narrative. However, if I were to recreate this sample, I would make the pleats further apart, as this would make the sample have even more of a texture, which would be interesting to look at.

Here, I experimented with how I can create pin tucks that are in the shapes of waves. For this sample, I pinned a straight line and sewed a wave line. This created an interesting effect as the plastic gathered slightly in some areas, which made the sample look like water, where a wave is formed, and the water around the wave is gathered.

For this sample, I attempted to create peaks with shirring elastic. I did this by sewing the shirring elastic in circles, which created the peak. I did this because I wanted to see how this might look, and how this might relate to water. I felt that the texture created was very interesting, however, they would look a lot better if the peaks were in clusters closer together.

I also attempted to do this in plastic because I have used plastic throughout my work. I learned from my previous shirring elastic samples, that I should use a blue elastic (because last time I used red and the colour distracted away from my samples, because red is not in my colour palette). I felt that these were less successful, because the plastic was very rigid, meaning that it wouldn’t gather.

This was my second attempt at direction pleats. This time I made the pleats smaller and further apart. This allowed the individual pleats to be seen more clearly, which makes this more successful because it conveys water more clearly, as water would have ripples this close together.

I had created pleats in a blue plastic, using a variety of sizes. I did this just as an experiment and I found it to be very successful because the way that the light shines on the plastic makes the pleats look more prominent and the different sizes look very similar to the different sized waves in water. Therefore, this sample is clearly portraying my narrative. I then added two other samples to this. I added one that was small pleats above the blue, and one that was big pleats below the blue, both are samples made from clear plastic. I did this to relate my sample more to water and the ombre effect that is often found in water, and the variety of sizes of waves and ripples. I think that this is quite successful because it conveys my narrative of water in a unique and exciting way.

Here I attempted sewing pin tucks that are in wave shapes, again. This time I pinned waved lines and sewed along them. This was very successful because it created pin tucks that were neat, and also related more closely to my narrative, because they were shaped like waves.

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Bonding Plastics 2

I decided that I wanted to further develop my experimentation with bonding plastics. I decided to use an iron, as this would be hotter than the heat press, and the heat press made the plastic flat, but I wanted the plastic to bubble up; to mimic the bubbles in the ocean.

For this first sample, I cut up stripes of blue plastic onto a piece of clear plastic (to mimic ripples, similar to my other bonded plastic samples). I had to firstly place the iron flat on the plastic for a couple of seconds, to ensure that the plastics stick together. I then took the iron off and held it about 2cm away from the plastic, allowing it to bubble up. I think that this was effective because the ‘bubbles’ mimic the rough side of water, giving my work a direct link to my narrative. The way that the light shines on the plastic replicates the way the sun shines on water very accurately. This makes my samples very interesting to look at because it draws people’s attention. 

For this sample, I experimented with incorporating a bin bag. I chose a bin bag with a white plastic bag, to represent the dark, negative side of water, combined with the peaceful side of water. I firstly had to seal the two plastics together by placing the iron directly onto the part where the two pieces of plastic meet. Because the bin bag was quite thin, placing the iron on slightly burnt holes in the plastic. At first, I was disappointed because it looked very dull and lacked visual excitement, however, the more I looked at it, the more I was reminded of bubbles and the destructive nature of water. When I bubbled up the plastics, I felt that, from the side, the sample looked incredibly like water, which is the effect I aimed to create, making this sample quite effective. 

For this sample, I used a piece of bin bag and a scrap of a thick clear plastic in order too experiment with what would happen. I felt that the way the plastic has scrunched up looks very similar to gathers in fabric, and they look like the surface of ‘choppy’ water. The light plastic on the black plastic replicates the ripples on the water, and the way that the light shines on the ripples. I think that this sample was successful because it will help me when creating other bonded-plastic samples; as I have a clearer understanding of the most effective way to bond plastics together and what effects I can get from doing so. 

For this sample, I placed a piece of cling film on a piece of plastic and bonded them together to see what would happen. I found that when I applied heat, the plastic at the back began to bubble up and the cling film shrunk and stuck to the peaks of the bubbles and became tight. This was interesting because it made a bubbly under-surface, with a shiny, smooth surface; much like the juxtaposition between rough water and still water.

This sample was just to experiment with how the plastic bubbled up with the iron. I used a thick plastic and held the iron as close to the plastic as I could, without directly touching it. I felt that this was very successful because the way that the plastic folds is similar to water. Not to mention, I think that this plastic conveys the same feeling of tranquillity, that water does, which is the effect I wanted to achieve through my work. 

Here, I attempted to bubble up a black bin bag, as this is thinner than the plastic bags that I had previously used and I was curious as to what might happen. I found that the plastic had more creases, because it was thinner. This could be useful to show the ripples in more aggressive water. 

This sample was an attempt to experiment with how a thick plastic bag would bubble, as it is slightly more elastic than the previous plastic I’ve used. I think that this plastic bubbled the best, as this plastic created the biggest bubbles.This gives the most interesting texture, making it the most effective plastic to use, if bubbling plastic. 

This experimentation has been very successful. It taught me how I can achieve different effects, and which plastics look the most effective when heated. I will use what I have learned so that I can develop these samples further, and think about how they could be used, potentially, in my final outcome.

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Shibori

I decided to experiment with shibori, after seeing a shibori sample displayed at BCU.

I felt that this sample was very visually exciting because the bumps were so close together that it formed a very interesting texture. I think that the organised and neat nature of this sample is effective because it creates an exciting effect, while maintaining a calm, still effect. When looking at this piece, I was reminded of bubbles in water, which is what inspired me to replicate this technique.

I decided to use a light blue fabric, because I felt that this would look best because it relates to my colour scheme and added another dimension to my work, as thus far most of my samples have been created using clear plastics. I used a synthetic fabric because this is what works best when creating shibori.

This was my first shibori sample. I used coins to create the circles and used the steam from an iron to fix the circles. I found this technique enjoyable to create because it was exciting to see how it might turn out. I felt that my first sample wasn’t very effective because the bumps weren’t very prominent (they were quite flat). I considered this when creating my second shibori sample.

For this next sample, I placed the sample in boiling water for 35 minutes (with the coins wrapped in the fabric), as I was advised that this would be a more effective way of creating shibori. I felt that this was much more successful because the bumps were more round and stood out more. However, I would like the circles to be closer together, in order to create more of a fabric.

From these samples, I learnt that shibori can be incredibly visually exciting and I would like to potentially use shibori in my final samples, because it shows the bubbles in water, and it gives a different texture to my other samples.

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Developing my Ideas

This week I decided to go through my samples thus far, in order to decide how I can develop and refine my ideas. I looked at my collected images and considered the different elements of my narrative to help me with this.

For this sample, I used free-machine embroidery to connect a piece of fabric and a piece of recycled fabric together. I attempted to create lines that mimic ripples on the water and the roughness of waves. I did this because I wanted to show different textures in my samples, and I wanted to connect these textures using a contrasting technique that would show the movement of water. I felt that this sample didn’t work very well. By looking at it, my narrative isn’t clearly conveyed. I think that this is because the stitch lines are too harsh, and they should be more delicate to show the delicate nature of water. I also think that the fabric choice was ineffective because they aren’t considered and don’t relate to water. From this sample I chose to attempt to recreate it using different fabrics, however I don’t think that it is something I would like to spend a lot of time on, as it is not worthy as a final sample.

This is a developed sample from the sample above. Again, I felt that the fabrics weren’t considered enough and don’t convey my narrative. The stitching was, again very messy and didn’t show the lines in water, as these lines are very straight and lines in water are often very wavy.

Here, I decided to develop my previous sample by using quafulm to connect the two fabrics. Again, I felt that this sample wasn’t very effective because the fabrics weren’t considered and the sample as a whole doesn’t convey water; the stitching is quite messy and doesn’t relate to water. Therefore, this won’t be a technique that I carry forward.

I had a sample of some bonded plastics and I decided to work into it. I did this by cutting shapes into the plastic and then, using aquafilm, I worked back into it. This sample was really ineffective. The samples that I created were not considered and were not shapes that showed water. The stitching is also very rushed and doesn’t show the delicate water. If I were to recreate this sample io would create more considered shapes, for example, I could trace wave shapes, and then I would look at images of water to create considered lines, that demonstrate my narrative.

I decided to create a trim, using aquafilm, on the bottom of an image of a wave. I did this because I wanted to experiment with new techniques that could make my work more diverse. I felt that this sample was quite successful because it shows the ways that the waves and the froth on the waves would be continued. I stitched some straight lines in the aquafilm because this would create tassels when the aquafilm is washed away. I think that this sample could be improved if I were to sew more delicate lines, as my lines are quite aggressive, which makes the sample look rushed.

I decided to cut out an area of this sample and use aquafilm to embroider into this section. I did this because after looking at the image I felt that the froth and foam on the waves could be replicated using free machine embroidery. I felt that this sample is quite significant because the stitching successfully looks like the foam on the water.

This is a sample that I created when bonding plastics together. I decided to develop it because it was initially quite boring. I did this by firstly creating some small pleats to show the straight lines and ripples in water. I then decided to place an image of water ripples (that had been heat transferred onto fabric) behind the sample, and then cut out an area, using shapes that I had seen in images of water and waves, to reveal the rippled image behind. I also used free machine embroidery on an area, in order to show the foam and froth that you might find on a wave. Overall, I felt that this sample was quite effective because it shows the different aspects of water, and it also incorporates a large number of techniques. However, I feel as though it is not very engaging to look at because it doesn’t immediately attract the eye, and there is a lot going on which can be overwhelming. Therefore, I don’t think I will develop this sample any further.

For this sample, I had created pleats with a plastic and fabric. I decided to develop this sample further by cutting into it in different ways to see what would happen, because it was originally very uninteresting. I cut vertical and horizonal slits in the sample. This was quite ineffective because, from far away you can’t see the cuts very well, meaning there isn’t much point in them. However, if you squint your eyes, the slits create a waved line, as opposed to the previous straight pleat. This makes this technique quite successful because it creates a direct link to my narrative.

Here, I pleated together blue plastic, blue fabric and white netting. I did this to create a sample that had a variety of textures. Not to mention, the netting looks very similar to the foam on waves. After I had pleated these, I cut down the pleats, revealing all the layers. I then experimented with cutting vertically into the pleats, to mimic the frothy texture of the sea. I felt that this was quite effective as my sample clearly indicated my narrative and the contrast of textures is very interesting.

For this sample, I placed two pieces of plastic on top of each other and in the middle, I sandwiched some blue string, that I arranged to look wavey and some netting, as this looks similar to the foam on waves. I put this in an embroidery ring to ensure that all of the components stay in place. I think that this sample is quite interesting because it incorporates many elements of water in a visually intriguing way. However, I feel that this sample would be more effective on a different coloured background as this would mean that you can see the netting more clearly.

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Working into Bonded Plastics

I decided to work back into some of the plastics that I have previously bonded, in order to give them more texture and to be more exciting and ensure that they communicate my narrative.

I chose to develop this sample because I felt that it was very boring because there was only plastic on this sample, meaning the texture was uninteresting. I decided to use aquafilm to embroider some areas of the sample to add more texture. I felt that this was quite ineffective. The original idea was to create cut-out shapes in the plastic that respond to water and mimic the shapes of waves however, the shapes I created didn’t look like waves or water at all, meaning the shape didn’t compliment the rest of the sample. Not to mention, the stitching that I did was very messy. Rather than creating delicate lines, the lines that I created were very rough and aggressive, which makes this unsuccessful because this is not the effect that I wanted to achieve.

This is a sample that I later used as a final sample. I decided to pleat a sample of bonded plastic, that had blue stripes in it to mimic rippled water. I pleated in the opposite direction that the blue lines were going in, because this way, you can see the blue lines clearly. I felt that this sample was very effective, the pleats made the blue lines look like they are wavy, which mimics water very well.

I decided to create small pin tucks throughout this sample because it was very uninteresting as it was. I think that these pin tucks made the sample more interesting because it added a new texture, and they made small creases in the plastic, which looks similar to ripples and textures that can be found in water. This is effective because it creates a direct link to my narrative.

This sample was originally a piece of clear plastic with blue stripes on it. I decided to add another texture to it because, without it, the sample was very boring. I used net behind because I felt that using anything else would be too overwhelming; using net maintained the delicate style of the sample. I decided to create small, neat pin tucks alone the edges of the blue stripes. I did this because I wanted to add more of a textural, 3D element. I think that this sample turned out very exciting. The use of neat, straight pin tucks and the delicate materials, contrasted with the messiness of the treads hanging and the holes in the plastic, is very effective because it represents the juxtaposition between still, calm, peaceful water, and aggressive, scary water (my focus group shows that the people I asked were either scared of water or found water peaceful).

Overall, I think that working onto my bonded fabrics worked successfully, because I was able to refine and develop samples to ensure that they convey my narrative, whilst being visually exciting.