04.03.2017

Sketchbook work – finishing samples.

I finished the brown sample by adding some more textures to it. I wanted to combine it with sprang and lucet too, but when I did the piece of sprang I wanted to include it started to unravel, so I had to wweave through it. This gave a really nice effect of sprang/weave textile piece that I decided to keep as a separate experiment.

I added some fringes to it too, as I find this idea of unravelling fringes and holes quite poetic and it reminds me of the quote “we want to paint the air” from Giovanni Bonotto. The texture is like soft cloud when the fringes are added. The holes make the piece collide with air in a more dynamic way. This is actually a good idea, to expand the garment by holes and fringes, to make it dynamic and interfere with the air – to paint the air with my garment.

Fabric research. I decided to buy some calico (not the most stiff one, as this thickness gives more possibilities to experiment) in a neutral colour. I also got some fabrics that reminded me of the structure of the air – tulle and blue cotton, very thin one. I used some of it in the sprang sample. I think it gives a nice effect of the air, without being too literal. It reminds me of air in texture.

I want to experiment with felting on tulle or using it for weave on a knitting machine. It gives a certail chic to the kind of “trashy” (on purpose) samples. I wanted them to look like they are old, used and almost “scrap”. Tulle gives completely another dimension to it, emphasizing the chic of it and making it more intriguing, because of the contrast of textures and textiles. Tulle is not though to be describing trash or scrap pieces of metal. This is also a kind of tension that reminds me of the suspence between human and a machine that I was thinking of earlier.

Designers research for Monday.

I wanted to see some workwear examples of steel mill workers, but I did not find anything interesting. Majority of workwear is very similar to each other and it doesn’t inspire me at all.

I decided to look for sustainable knit designers or designers that emphasize time consuming techniques or craft in their work. One very interesting designer I found is Xuly Bet who was reknitting old knitwear and stitching it back together. I really like the idea of knitting in old knits, so this is something I would certainly like to experiment with. Hopefully we have time to do that on Monday. I am not interesting that much in stitching the old knits but rather creating something completely new from them. Like my grandfather's machines - once old after he reworked them were new again. Leutton and Postle have inspired me to think about stitching the old garments into patterns or reusing them to create a new piece of textile. I will try knitting those old garments onto a knitting machine, but if it will not work I wil try to find another approach to sampling. I do not have that much time tofind a solution to every idea but I rather have to find an idea that works. I also do not think that using old garment will show the idea of painting the air that much, so I will experiment with that but depending on the effect I will either take it further or not. The visual images of Fernand Leger are what I think the knitted pieces could look like - if I will not achieve this effect I will focus more on fringes and holes as this is what conveys the message of the project better. The samples would interact with the air more than when using old knits.

Evaluation of this stage of the project:

What went well?

I finished some samples, which is what I wanted to do.  The experiment with weaving into sprang worked really nicely, so I am satisfied with it and I will probably do some more experimentation with that soon.

What did not go well?

I did not find any particular historical reference for my project, apart from the Guild of Artists and Craftsmen (see research page). It is not inspiring that much in terms of clothes, rather underpinned by similar though processes. They also cherished craftsmanship. The only thing is that they wanted to go back in time and stop the development. I am interested rather in what Bonotto is doing - combining crafts with machinery to create a perfect symbiosis.

How can I move on from now?

I think I should extract some shapes to work with on Monday, as I know we will have some workshops on draping. I could do that with either draping with samples on a smaller scale manequinn or doing some collages or both in combination. I think I will try both, I need to see first how the small draping goes.

 

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