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. 

Live Brief - Michael Kidner.

The Michael Kidner Project is to create a collection of fabrics for fashion, using Kidner’s work as inspiration. I decided my collection would be for a menswear audience however be accessory based. I want to create a range of snoods featuring lively colours, exaggerating the extreme colours and overall style. 

Street Style 

Kidner’s work is very bright and colourful; I rarely use bold colours within my work so I decided this project would be good for me to really push myself. After researching his work I found his ‘Column’ collection the most inspiring. 

Michael Kidner

Initially I was drawing using browns, greens and yellows however I found the brown as a base colour too flat and dull, I therefore moved on and changed my prime colour to grey and navy blue. This was easier to work with and I started to enjoy the colour palette.

I wanted my drawings to be structured and to focus on the pattern, because my work normally focuses on the texture. I surprised myself with this project as it was very different to how I normally work. I enjoyed focusing on the intricate shapes and patterns whilst drawing and using bright colours to liven up my work. As I developed my work I found yellow, green, blue and tan the most dominant colours coming through so I decided to develop this colour palette by looking at different yarns to use. I found wools and cottons which matched my colour palette; I wanted to use more cotton as this yarn is stiffer and creates structure which will help in creating a strong pattern.

 

Also I researched knitwear fashion brand Missoni as their AW15 collection had strong patterns throughout their collection and the bright pops of orange really add depth to their garments. For me this use of colour was intriguing, so for my work I decided bright colours would dominate my fabrics. Whilst sampling I had blocked chunks of brighter greens and yellows which breaks up the darker colours.
 

Initially I used the Domestic machines; however as I wanted structure I found the Dubied machines would be more beneficial.  I used techniques such as plaiting, drop stitch and ladders. 

 

The drop stitch added texture, which at first I was unsure about, however as I continued to mix drop stitch and plaiting I found the drop stitch was not too textured but made my fabric more interesting to look at. 

 

When researching Michael Kidner I found many circles in his work so I drew circular patterns and to bring this idea in I used the reversible circles technique. This was very structured so I started playing around with the size of the circles which was very successful in creating strong patterns and it inspired me to add more intricate detail on my samples.

 

These techniques lessened the stiffness and relaxed the structures which I feel was a necessity as the snoods would need some aspect of drape to sit around the neck in a comfortable way. 

Live Brief - Bradford Project.

For the four-week Bradford Project I decided to use a different concept, from my summer work. I wanted inspiration that would allow me to expand my drawing ideas. I have centred my concept on the phrase ‘Time Deception’, looking at ‘Obscure and Fading’. I started drawing using different materials and media rather than drawing from images, which I normally do. I gathered materials such as tracing paper and acetate, which I then layered. I photographed these drawings and then drew from them. However, I found I became too focused, so I photographed hands and still life set-ups, which I obscured using filters. It has taken me a long time to develop this concept and gather drawings, as I felt lost and unsure of my work. However with this concept and strong drawings I found I could develop sampling ideas further.

I find I am always drawn to Autumn/ Winter Menswear, looking at designers that had chunky knits, using thicker yarns. However, for this smaller project I wanted to focus on Spring/ Summer and create finer knits which could be layered up, as this challenge would push me to create a varied collection. James Long, Jonathan Saunders, and Sibling, all design for Spring/ Summer menswear and their work features a delicate look and are pushing the boundaries of Menswear. I wanted my knitwear collection to have a similar style, by pushing my limits and developing my skills. I worked outside my comfort zone to develop a finer knitted collection, as I wanted my work to have a draped quality.

Jonathan Saunders SS15

My colour palette started out using pale greys, purples and blue. Initially I thought these colours would push me to create a softer collection, however after looking at initial development samples I edited my colour palette to incorporate darker greys. I changed the purple as it no longer suited the colours, bringing in different shades of green instead.

I created simple designs with areas of details, such as drop stitch and lace holes, as this delicate stitch does not overpower the piece, allowing for subtle detailing. The cotton and viscose allowed the piece to have fluidity, this strengthened the collection as the individual pieces flowed and had a movement.  

Within this Bradford project, I have found it difficult as it is out of my comfort zone because I also had to learn how to use a different gauge-knitting machine and I looked more into the proportions of colours and textures to allow the draped delicate qualities to show through in my collection. 

Degree Show

Knitwear student Jessica Hogan creates fine knitted garments which have a draped quality. I find Jessica Hogan's work interesting through the technical processes. The fine knitting with the intricate detailing of lace holes, drop stitch and inlaying does not overwhelm the piece so still has a delicate effect. I would like my work to be suited to a male audience however my vision for my final project is to create layered garments with draped qualities so when all the layers are assembled the delicateness of the individual layers will be overcome creating a more masculine look. I also like her visual aesthetics of the soft pastel colouring met by the hard black blocks running through her work. 

 

Menswear fashion student  Sam Beeston has the visual aesthetics  of the layered styling and combination of materials. Contextually Sam Beeston's work is for menswear fashion, I would like to create a collection for menswear, I find it challenging however more interesting so this is something I am going to research over summer. Sam Beestons concept for this collection is 'Human Combine' looking at incorporating discarded materials into design to change their properties challenging menswear design. This is inspiring as I would like to challenge menswear through the use of material; using thinner more feminine yarns. Sam Beeston looks at the human body as a starting point drawing how it moves so the clothing can relate to the body, this highly intriguing concept will be an area I would like to develop.  

 

Danielle Kenyon studied Illustration with Animation, creating drawings which focus on the intricate detailing of the subject drawn. The main media used is fine liner to allow for the high amount of detail. I am going to create very detailed black and white drawings, using similar media to this. I feel this will be a strong starting point for initial drawings over summer. These drawings can be developed and worked into by adding colour. there are many aspects of this drawing which I could focus on when interpreting my research. Her concept looked into the WW2 era, at buildings that had been destroyed due to bombs. I am struggling to think of an interesting concept, how I am going to visit galleries, the Imperial War Museum and the People's History Museum. I am going to start drawing churches and cathedrals using similar media to Danielle's work, I find churches very interesting and pleasing to the eye so this is something I know I will enjoy drawing.  

Moon and Sons Mill Placement.

Moon and Sons mill, is a vertical mill, one of only two in the United Kingdom. They produce various woven products from scarfs and throws to furniture. I was fortunate to have a tour of the mill looking at all the aspects of production, from the initial stages of the raw wool from the sheep through to the designing and the weaving of the products.

Firstly, I was taken around the dyeing lab where they bulk dye the loose wool and dye imported yarns on cones. This was done on a large scale to meet the markets demands. After initial dyeing the fibres are taken to the spinning room to be flattened, stretched and spun to be made into yarns, this process is lengthy taking 2 to 3 weeks.

Once the yarn was spun, it has to be re-spun onto cones, which are suitable to be used to create the warp for the weaving machines. Some of the cones are then sold, however most of the yarns are used within the factory to be made into products.

The weaving process was the longest process as it took 1 to 2 weeks to create the warps to go on to the looms checking the colour and lengths were correct. Then the wraps have to be set up on the loom and then wove. This entire process takes 4 weeks sometimes longer if all the looms are in production.

 After the weaving process the fabric has to be washed and treated, there are many different treatment processes for the different wools used or for the different products that it will become. The finishing process takes 2 to 4 weeks. This process is very lengthy however as the mill carries out every process it is much quicker as travelling and shipping times are decreased.

I found the design studio highly interesting. The design process for large scale production differs from the design process I have  used producing small scale samples. This placement showed me how different the designing and planning of yarns and products is in a large scale business and gave me an insight into how companies like Moon runs.

Foremark Placement.

Foremark is a print-based supply design company. They supply Arcadia, which includes Dorothy Perkins, Evans, Topshop Nightwear and Asos Nightwear. My placement was for a week in the design office. Initially I was researching current trends, particularly florals, for a coming meeting and taking pictures for different prints and styles in the studio. This research was similar to the research I carry out within my own practice when gathering initial ideas.

The head designer who I was shadowing then suggested I should start designing prints to go in the florals collection. I designed a daisy flower pattern for a t-shirt, using Illustrator, Photoshop, and free hand drawing. I found this experience challenging, however rewarding, as my general practice is not within print. Due to this placement, I was able to explore the print area creating two prints overall, and I was thrilled when both were sent to the store designers to decide which would go into production. I only have limited skills in both Illustrator and Photoshop however I grasped the basic skills quickly, which allowed me to start developing my prints onto a t-shirt that I had to edit to meet the requirements, such as lengthening the sleeves and changing the neckline.

I found this experience insightful into how supply companies work and how to develop ideas from up and coming trends. It also strengthened my knowledge using different softwares on the computer, and gave me an insight into the print industry. I had never created a print before so this placement gave me the opportunity to learn new skills that I can bring back and apply to my own practice.