Evaluation.

For me, the most significant learning which resulted from this Practice Unit was experimenting with texture. My main concept for this unit ‘Time Deception – Coded’ helped me push my sketchbook further than ever before. It allowed me to focus on texture and layered patterns showing my ideas. Within this concept I looked at circuit boards, Braille and Morse Code which all have tactile qualities and layered patterns which I found interesting. 

 

I feel I have demonstrated the ability to express my initial ideas through drawings and I have carried this through when sampling. Within this unit, I think my sketchbook and fabrics have a strong link and work well together. This is an achievement for me as I normally feel that my samples and sketchbook are disjointed and unrelated. Yarn research was a key focal point of my research, and as I wanted varied textures I had to find different contrasting yarns to create an unbalanced effect. My base yarns consisted of cottons and wools, bringing in hints of chenille, latex effect yarn and Lycra to gain my desired texture. 

Technique played a key role in this unit. I wanted to push the boundaries of each technique and I feel the Partial Knit on the Domestic machines really showed the chaotic texture I was looking for. I think I used this technique effectively and adapted it to create unique patterns and ideas. I found the fabrics I created using Partial Knit the most inspiring and I will push this further in Unit X and beyond. 

Within this unit, I started to create fashion drawings showing how I visualise my samples on the body. I have never drawn fashion illustrations before so I want to expand this work in Unit X and find my own style of drawing and expressing my ideas. 

When researching context I always focus on the texture and depth of the knitwear, this focus has pushed me to understand the style of knitwear I want to create. I want to develop textures and volume within a menswear context pushing the boundaries of what we see as traditional knitwear for men. To help develop my ideas I have looked at knitwear designers such as, Missoni and Craig Green. Missoni AW15 has pushed texture by adding coins and other metal objects to their fabric and this chaotic texture is fun and inspiring. Craig Green has pushed shaping and silhouettes adding trims on raw edges at the bottom of their fabric. These unique approaches have really inspired me to develop my fashion research looking at different ways I could manipulate the shaping of traditional silhouettes.

My first garment plays with this idea, however very subtly as I lengthened the body of a traditional jumper style creating an oversized effect. I also left the rib at the bottom of the jumper unlinked as this allows more room for manoeuvring and looks more unusual. By leaving my jumper sleeveless I can add in different textures underneath that will add to the styling. For Unit X I want to push this further and really look at silhouettes. 

 

I found the Live Briefs, The Bradford Project and Michael Kidner interesting as they have pushed me to expand my research and technique. They have inspired me to push my colours more and to use different machines to gain a contrast in structures. Using the finer gauge machines and bringing in a crazy colour palette has been a fun learning curve. 

Final Development.

As I continued to develop my samples I found that, for me, the most significant element was the extreme textures. I expanded this idea by exaggerating the technique Partial Knit. I feel this sample is one of my strongest out of the collection which is due to the volume and texture; I am trying to push the boundaries of menswear by having fun chaotic pieces paired with simpler fabrics. This sample is strongly inspired by my concept ‘Coded and Secrets’, as the texture and pattern hides the finer details, and the loose threads create extra depth.

 

This relevant technique inspired me to push its simplicity; I developed the technique by looping the knit to create patterns which reminded me of a cable knit effect. By using the black against the navy it made the technique more dominant. 
 

 

I wanted to expand my yarn research; I did this by using Lycra, as I have never used Lycra before as a base yarn. I used pockets to extend the full potential of the Lycra and I did this by stuffing the pockets, stretching the Lycra. This strain allowed the yarn which stuffed the pocket to come through adding details and colour. Within these samples the proportion of colour strengthens the piece as one colour is not overwhelming the rest of the fabric.

Another technique I used to create my collection was Inlay. This was a useful technique to add movement to the piece without overpowering it. I inlayed monofilament which had been spun into tube shaped cords, this yarn was very structured and added a subtle curve to the knit, relating back to my drawing as they have gentle linear qualities and slight natural curves. 

 

This knit in comparison to my Partial Knit samples is more delicate and considered. I feel this balance strengthens the collection and allows the viewer to enjoy the more chaotic pieces in comparison to the relaxed subtle pieces. 

For me this collection has a slight contrast of structure. Some pieces have strong structures and harsh lines where others have a softer feel but with more extreme textures. This works as a collection as it allows certain aspects to stand out and the more subtle details to be hidden relating to my concept ‘Coded and Secrets’. The finer details are there for only the wearer of the fabrics to notice, strengthening my concept. 

Garment Development and Construction.

For my Trims Project I started by looking at trims and silhouettes of traditional menswear garments. I went into different shops to gather primary research on trims, silhouettes and yarn choices; I found that higher end fashion brands had a larger percentage of wool, cotton and mohair. This has led me to create collections within my practice using only luxury yarns; wool, cotton and viscose. I found this project useful as it showed me what fashion brands are like in industry, and how to adapt my work to fit in and also to go beyond and push the boundaries of knitted menswear fashion.

Whilst gathering my primary research I found a particular knitted garment that used the Linker as a feature by having the chain stitched edge on the right side of the garment. I found it interesting how I could use traditional techniques and push them to add detailing on to garments.

For garment development in my main Practice Unit, I also carried out a body of research consisting of trims, silhouettes, and shaping. This research has helped me visualise my samples as actual garments. I have started to consider placement of techniques and proportions of yarns and colour, which has helped me greatly in understanding patterns and styles of knitwear, and has pushed me to start designing different garments.

I have researched different knitwear designers, such as Nicomede Talavera, he creates interesting pieces of knitwear pushing the boundaries of construction, his sleeves are not linked and flare out. Details like this are what interest me when researching menswear fashion. 


Nicomede Talavera

For my first garment, I created a jumper. I wanted a traditional style but more extreme. I decided for the main torso on the front and back I would bring in only slight detail. I added subtle lace holes in small sections to keep with the concept ‘Coded and Hidden’, also inlaying small areas bringing in slight shades of teal to lift the piece by adding colour.

The rib on the bottom of the jumper lengthens the piece making it an oversized silhouette as I want to style it with oversized t-shirt and really exaggerate that look. 

 

Initially working from the sample, which is half rib, and half pockets, this became the main detail on the set in sleeves which would add texture to the garment. However in hindsight the calculations to create this sort of sleeve proved difficult, as each technique made the fabric move in different ways, distorting the shape of the sleeve. So I decided after making one sleeve, with the techniques side by side, to have the rib on the bottom half of the sleeve and have the pockets on the upper half. This worked more successfully. 

When constructing the garment I decided to not incorporate the sleeves into the garment as the quality and visual impact of the sleeves would lessen the garment and not add anything.  I felt the quality of the sleeves were not to a high enough standard to incorporate in my garment, so in Unit X I will create a finer knitted piece to go underneath the jumper.

For future garments, I would like to work on the structures of the fabrics and I think the different structures work well in conjunction with one another as it affects the tensions and textures of the piece; this is something I have developed throughout this Practice Unit and will continue within Unit X.

Initial sampling.

For me the most significant element of sampling was to create varied textures and weights of fabrics. I want to create a collection for Menswear Autumn/ Winter as when I carry out research I am always drawn to the chunky more textured knitted garments. Initially I experimented with thicker yarns which created a dense heavy texture, but I found this hid the techniques and they got lost in the black dense yarn, so I moved away from the weightier yarns opting for a more subtle texture. I have been researching different designers such as Missoni and Craig Green as they have subtle textures and are more based towards an Autumn/ Winter. 



Craig Green A/W 15

Having analysed the different weights of yarns I then went on to research as many different textures as I could find. I inlayed wires and metals which enabled me to move the piece and distort the knit, however I wanted my samples to be more wearable as menswear pieces, but the wire made the piece too stiff and uncomfortable, so I decided not to use the wire.

 

This stiff structure is something I want to achieve, so instead I used strong cottons for larger areas, creating a boxy look, which is the sort of feel I want my collection to have. I continued my yarn research by sampling with yarns such as Latex covered yarn, felting yarn, various cottons and chenille. These yarns together created texture within each piece.

The techniques I have started to develop are inlay, ripple, pockets and rib. The ripple is a strong technique for texture, and mixed with a mock rib creates a ladder on the front of the ripple, which I find interesting, and by inlaying various yarns in the ripple it will show through adding a hidden texture relating back to my concept ‘Hidden and Coded’. 

 

As I am looking to contrast different textures, I have started putting two techniques next to each other, and seeing how this manipulates the structure of the knit. 

I think this piece is a strong piece, which could be developed into garment ideas. The rib and pocket structures side by side distort and move the knitting, as the rib brings in the sides and makes it longer, and the pocket does the opposite, pulling out the width making it shorter. I think this difference works well and adds detail. If I stuffed some of the pockets, this would add more texture, and create an illusion of thing being hidden within my sample.  

The ripple, rib and mock rib create a similar structure to my drawings of the circuit boards which links in well together and has a strong connection with my concept. I am going to start bringing in lace holes to add subtle detailing which also links to ‘Coded’ as things are normally hidden and indiscrete.

I wanted to seek out different styles of knit for my collection so I have started to explore the single bed knitting which gives me a lighter weight of fabric and can be easily manipulated. The techniques I have developed add textures creating bumps within my knitting. I found similar techniques within the Yarn Fair ‘Pitti’ in Florence which suggests this technique is used widely in industry; however I want to push the boundaries of the technique. 

I think this piece works well and has a strong area of focus allowing the lesser details, such as the lace holes, to merge in and only be noticed by the owner or person wearing the sample.

As I developed my samples more I found that black was too dense and stopped the techniques being shown to their full potential. I have decided to bring in a teal colour as some of my photographs have a bluish tinge to them. This teal should lift the piece and allow the techniques to show through. I have also decided to add in navy blue as I feel this could create a subtle contrast within the pieces.

Developing a Concept - Coded.

After the Bradford Project, I decided to carry my overarching concept ‘Time Deception’ to my self-initiated brief, ‘Coded and Secrets’. For this new concept I looked at circuit boards, which hold hidden pieces of coded technology.  The patterns on the circuit boards are interesting and unique; I found the structured chaos inspiring and started to draw from the boards. I used fine liners, which created a sharp edge and structure; this linear quality inspired me to push the scale of my drawings.

These drawings became too flat so I decided to add texture using different ‘found’ materials, layering them up to add depth. The drawings with texture are the stronger drawings out of my sketchbook and the texture is something I would like to continue when I start sampling. When researching context I always look at knitwear which has volume, so I find my textured drawing the most interesting as ‘texture’ is an area I want to push when designing for a Menswear audience. 

 

After looking into circuit boards I started to repeat myself so I went on to investigate what other aspects of ‘Coded’ I could look at. Fingerprints and palms have a different code unique to each person so I used this to create a range of drawings that had a similar pattern to the circuit board design. By making the fingerprint drawings similar to the circuit boards drawings I have created clear patterns that I can take into my sampling.

 

I have kept my colour palette subtle using mainly black, with hints of blue, as I would like the technique of the knitting to stand out. I want to use varied yarns to build up textured pieces, so the focus is the texture. By having black as my colour scheme it will help me look at the technique rather than thinking only about colour and colour proportion.

I started using Braille as inspiration to develop my sketchbook further. The tactile qualities of the Braille language have inspired me to add subtle areas which would draw attention to the smaller details whilst sampling. The circular pattern of the fingerprints creates a strong link to Braille and to my concept ‘Coded’. 

 

To contrast the tactile qualities I researched Morse Code which when drawn out is a flat pattern, this aspect is something I would like to develop further as it will add different qualities to my samples.