TEXTILES DESIGN PROCESS


ANSON LAU

The eye often plays tricks on us. We usually see what we want to see – our brains way of filtering out all the tiny nuances that would otherwise be too overwhelming. Anson Lau, a Textile Design graduate from Central Saint Martins focuses on these preconceptions and more often than not misconceptions. Taking some wise words from the wise philosopher Aristotle to heart, “our senses can be trusted but they can be easily fooled”, her collection focuses on the disparity between what we see and what actually is.

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CHRISTINA SEEWALD

Christina’s research topic is concerned with sexual dependency and interdependency between individuals. Many people in big cities like London have the desire to be independent, but at the same time a craving for the intensity that comes from interdependency. The tension this creates seems to be a universal problem. (Nan Goldin)

In order to get visual inspiration she collaborated with Jelly Luise, another CSM student to create a mood film that would support her final collection in terms of colour, shape and structure. Christina provided image-heavy research that was rooted in Nan Goldin’s ‘Ballad of Sexual Dependency’, Schiele drawings and many others.

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CONSTANCA ENTRUDO

Constanca Entrudo’s graduate collection is inspired by the whole idea of performance, circus and transgression. By embracing chaos during the creative process she aimed to generate fabrics that would challenge the usual processes of print making through the use of techniques such as dyeing, bondawebbing, melting different materials, pleating, folding and embossing.

In the first phase of her research she started by looking at Circus archives, London based performers and visited various vintage costume shops, such as Prangsta Costumiers, all over the UK in order to learn more about the materials and fittings that have been used in theatres and burlesque performances.

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MEGAN ROSE

Megan Rose’s collection ‘obsessive|compulsive chaos’ is in aftermath from her most recent collection banepn valeri, where a new sense of understanding is found through the element of collecting. ‘Obsessive|compulsive chaos’ moves on from the formal elements of collecting- entertaining a more obsessive, compulsive chaotic association surrounding collecting with a strong focus on symbolising objects in place and being.

The collection really captures the impact of obsessive compulsive hoarding, developed from the initial inspiration of her Grandmother and her unusual range of collections on display within her home.

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MIETE FARRER

Miette Farrer’s graduate collection, created in collaboration with Katie Westwood, was inspired by craft processes and the reinvention of the familiar. Drawing inspiration from the mass produced shirt and jeans, innovative textile techniques were explored to recreate the shadows, creases and suggestion of these garments. With the focus on process, techniques were pushed to the limits in order to recreate entire fabrics.

The importance of slow fashion is reflected through the time consuming processes of hand painting, cutting, manipulating and stitching to create fabrics and garments.

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NADIA WIRE ALBRECHTSEN

The central aim of Color Intelligence is to highlight the importance of colour: How colour can guide and direct and tell its own language. A case study about lace and its patterns, formed the foundation for this collection: How women in the 18th century didn't knew how to read and therefore lace patterns was mapped out with a colour for each stitch. This aspect of using colours, as guidance is the main focus in Color Intelligence.

Michel Pastoureau's theory on colour and stripes founded the concept for this collection. Therefore this collection includes linear and irregular stripes from a naive and spontaneous point of view. The stripe is the core of this collection. Looking back at old naive childhood drawings lets the designer to investigate further in the subconscious mind.

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OLIVIA MAILEY

Olivia used her abstract photography as the key development when it came to designing her collection. By capturing the uncontrollable reactions triggered during physical and chemical changes she aimed to use her photography to spark a vivid colour palette, pairing pops of citrus tones with translucencies.

Initially inspired by David Mcleod’s 3D digital illustrations that represent movement and fluidity. The synthetic surfaces in Mcleod’s abstract compositions used in the IBM Outthink campaign illustrate the transition between different states of matter such as liquids, solids and gases. The idea of distortion emerges as surfaces combine creating an entrancing visual experience.

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PALOMA ALARCON

Throughout the years it has become noticeable that culture tends to have an influence on the way individuals experience and perceive life. Paloma has always had a profound admiration for Peru, its culture and its people.

Being bought up in Lima, the capital of Peru, developed her interest and admiration of their architecture and textile manipulation. Their colourful layered houses and diverse historical locations such as Macchu Picchu and Chan Chan provide meaningful illustrations of ancient art.

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POPPY FULLER

Drawing on her initial theme of magic, she expanded to a more abstract approach as her work progressed. Focusing on elements such as transformation, distortion of reality and secret knowledge allowed her to express her research in a more individual way. Graduations in colour, obscured patterns and glitches all contribute to the illusive mood of her designs.

The concept behind her final outcomes were that they were talismanic fabrics, with specific protective elements woven into their design. It was important for her to capture the sense of mystery from her research while creating a collection that was still sophisticated and new.

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VALIA KAPELETZI

The initial inspiration behind Valia’s vision was the irregular beauty of the hammock, its construction, behaviour to movement and function. The interaction of movement with light and the human body are translated into dimensional installation pieces with playful colours and intriguing handcrafted details.

After vast experimentation with different materials and techniques, the final compositions consist of hand woven polyester yarns and other polyester materials which have been dyed with dye sublimation, while their core structure is the result of the wire that is woven together and incorporated as a backbone to the dimensional constructions.

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WINNIE YEUNG

The concept of Winnie Yeung's final project is ‘Growing’. The initial inspiration comes from aerial photography of tulip fields in The Netherlands. Instead of using pen or acrylics to draw and paint, Winnie uses the knitting machine as her drawing tool, and the different kind of yarn as the medium.

Winnie loves experimenting with a range of knitting techniques and yarn combinations. Her first samples have become the visual and haptic inspiration for her next works. In addition, her research method is by observing the details of her samples and taking photographs to make further developments and improvements in the following iterations.

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