Throughout this unit, I wanted to develop
a more innovative and experimental approach to my knit designs, which would
bring diversity to my portfolio.
Pushing further my concept of Overgrowth,
from my practice unit, I decided to extend my exploration of ‘Growth’ and evolve
the concept, research and colour pallete. Viewing beyond the excess of nature
and focus more on the uncertainty of pattern and the occurrence of shape.
I worked on expanding the range of colour
and texture in my samples, working in more nude tones and centring on the detail
of technique. I have developed more complex, innovative dubied samples, which has
allowed me to explore the uncertainty of pattern in my images. This drove me to
experimenting with yarn choice such as the addition of viscose, silks and
mercerised cotton, which were used to convey the more subtle qualities from my
research. I also brought in new fibres such as cashmere, which gave my samples
a higher quality feel and contrasting weight. Although I found that some
qualities weren’t suitable for my intentions with this unit. I found the
qualities of spun viscose, was a little too harsh a fabric when knitted, so I
sourced viscose floss. I tried avoided such yarns as wools, I found that it
gave too much of a thicker feel to the fabric and wasn’t the outcome I wanted
to add to my collection.
Working my designs towards high end S/S
womenswear fashion, I wanted to have a range of both open and solid structures,
which I achieved through the use of varying techniques and different weight
yarns.
I developed my sampling through
experimenting with crochet techniques, which I feel express my images and
define the occurrence of shape within my mark making and drawings. The continuous line drawings from my
sketchbook are translated through embroidery, crochet and on the dubied, with
addition of appliqué and beading to define areas and add colour. Similarly testing
machine techniques such as honeycomb, mock rib and casting off sections allowed
my patterns to be random or repetitive where necessary. I also used several embroidery techniques
such as smocking to add texture, and testing bullion knots which was
unsuccessful in application and appearance.
Contextually I have researched high-end
S/S collections such as Liu Fang and Stella McCartney. Finding similar qualities
in design and process. I believe that the research I have gathered, combined with
the context and concept has been fully translated into my garment. Crocheting
my garment has enabled me to have more control on placement, structure and
silhouette.
Future thinking; I intend
to further developing my understanding of yarn and yarn qualities, extending
sourcing and experimentation. Embracing the interlinking disciplines of constructed
fabrics and embroidery and illustrating a more innovative approach to these
techniques through fluent integration. Having a place in New Designers will
give me the opportunity to exchange views with likeminded designers, gaining
network prospects, building contacts and aiding my decisions on either further
education or a role within the textile industry.