All of
the three designers featured in this post displayed their work at New
Designers. By going to New Designers I was able to see the wide
variety to which people work, the multiple avenues that can be
reached and expressed through weave was immense and gave me a good
understanding as to where I wanted my practise to develop. When I was
looking for designers to research I chose to focus on four main
areas; context, technique, materials, and design. For me the most
important attribute was context, how the designers considered use of
yarns, colours, and patterning within their overall design to create
a meaningful outcome. This is an area that I need to develop most,
and how these designers have harmonised all the aspects of a design
is very inspiring.
JESSICA ROSE TASKER
Jessica's samples and visualisations
http://jessicarosetasker.co.uk/
As I
have stated my main focus, when finding designers to influence and
direct my final year at university, had been context. Although the
collection that Jessica displayed at New Designers was not visually
to my liking I was immediately drawn to her context (for this
collection it was contract weaving, centred on car interiors). After
researching Jessica further I found that other collections she
produced were very appealing, using more colour but maintaining the
same acute detailed pattering. As she is very aware of her context
she is considerate when selecting yarns, making them subtitle for
commercial and contract weaving her patterning also reflects this
consideration. Although she is very focused on her context and
directs her work towards transport interiors she does not neglect
other possible applications for her designs (reflecting in her New
Designers collection that they are also well suited to coats and
jackets). I have found that I prefer to work in a commercial way, and
can see my practice maturing in that direction. Jessica's context is
almost exactly where I wish to place myself, however I do not see
myself focusing on car interiors. I hope to apply the same
consideration as she does (especially with yarn selection, as this is
something I tend to over look).
Within
her collections she produces both Dobby and Jacquard samples, her
technical skill is evident in the fact that the two methods are
seamlessly brought together. Within her collections she regularly
plays with scale giving it further depth and variation, most of the
patterning however is small scale. Being small scale the designs are
well suited to the commercial market, she has grasped the ability to
create complex repeats often found in the contract weaving market and
perfect for transport interiors. As I have said I do not wish to
focus on transport interiors but I would love to develop the ability
to create patterning like she has. The samples and techniques that
she has used has highlighted to me the skill areas that I need to
improve on. Also it has shown the potential of small scale
patterning, and how great variation can be obtained.
Her
design and inspiration also interest me, she stated that for her
latest collection (featured at New Designers) she was influenced by
innovation in the textiles market (fabrics, yarns and future
concepts). I also find myself drawn to technological advancement, I
believe that designers should start to interoperate more of the
modern instruments available. Alongside a shared interest in
innovation it would appear that we also develop designs in a similar
way; through CAD technology. With the ability to alter scale, reflect
and repeat images, makes it a perfect tool for developing patterns
that are suitable for contract weaving and commercial outcomes. Thus
I will continue to use this within my own design practice.
CHELSEA EGAN-CLEWS
Chelsea's
Jacquard, Dobby, print designs and visual research
http://chelseaeganclews.blogspot.co.uk/
While
at New Designers I saw a few collections that contained Dobby,
Jacquard, and print samples, for me Chelsea's work stood apart from
the rest. I was really impressed with how she had created a
consistent and harmonised collection containing all of the three
mentioned techniques. With most collections where these techniques
are presented together there is slight friction between them; most of
the time it lies within the patterns and colours, each of the
techniques seems to have its own take on them. Chelsea's collection
however works really well together; I believe this is because of her
strict colour pallet and patterning. She began her process with
visual research into moths, from this she extracted a precise colour
pallet consisting of only six colours. She also created
representational studies which suited well to the print and Jacquard
designs, when considering the Dobby designs however she took only
elements from the moths (such as the patterning on their wings). Then
when creating her samples she took little features from each
technique and applied them to others; the zigzags from her Dobby
samples was used as a background of one of her Jacquard samples.
I am
extremely fond of the way Chelsea designs, her method is very simple,
its controlled nature means that her samples stand well individually
but work excellently as a collection. I enjoy drawing but have found
that designing for weave it is easier to produce abstract images or
simply focus on patterns, I am best at representational drawing I
would like to use it within my practice. Incorporating Jacquard or
print samples is something I have though of doing but have always
been concerned that they would distract rather then aid my
collections. However after discovering Chelsea's work I have seen how
successful a collection of multiple techniques can be and am eager to
experiment with this in my own practice.
NICOLA COSTELLO
Nicola's Samples
http://www.nicolacostellodesign.com/
When
walking though New Designers Nicola's work immediately stood out for
me, not only did she have an impressive quantity of work but also her
use of materials and techniques were well in keeping with were I
could see my own practice progressing. Luckily I had the opportunity
to talk to Nicola in person, I chose to ask mainly about her context
as this was an area that needed development within my own work. The
main body of her work was steered towards commercial manufacture
through her use of yarn and technique, she told me that although she
aims to design for interiors (upholstery and soft furnishings) she
dose not discredit how her samples are suited to fashion (coats and
jackets). Directing and finalising my work/ samples then going on to
find other potential uses/ markets would be something well worth
incorporating into my practise, it would take no more time but it
would make me more conscious of the potential applications for my
samples.
Nicola's
use of material and technique is defiantly somewhere is see my work
going already; she uses 100% wool in most of her samples. After the
success of my double cloth pure wool collection I am eager to create
more wool samples. As I discussed with Nicola the way in which you
can further develop your samples though washing and finishing is so
exciting. Nicola experiments with finishing, not by trying outrageous
techniques but altering the finish depending on the intended use for
the fabric/ sample. Alongside her finishing her use of technique is
naturally carefully selected for the specific context. I particularly
like her use of “unstructured” figuring, she uses it as a means
of abstract representation (allowing the texture and colour to make
all the connections to her visual research) but I believe this
technique could have a place in representational designs as well. It
is certainly a technique I would like to attempt, the way in which it
looks completely random (hiding its repeat) is a concept you see
regularly within commercial textiles, and would thus be a valuable
asset to my practice.
