Tutorial with Study Strategies on reflection.
I learned that I should understand the feedback I get not as a defined only way of going but as a guidelines that I should consider when making next steps in my project. I am always too worried that I get variety of feedback and sometimes it's completely different than other one. The opinions vary a lot. I now know that it's all an advice for a pathway to follow and I am the one who is taking responsibility for it.
I thought about my feedback from yesterday again - I could do more research and include some more defined shapes into the shilouettes so that they look like garments and have that elements of normal clothes. I really think that including more blocky shapes is a good idea, make the shilouettes more realistic and less costume like. I want to have some more research into how to organize the shilouettes because now the amount of fringes is overwhelming and I want to find a way to put them into an order and not everywhere. More research is needed and that is what I learned from the feedback.
The tutorial was very helpful to realize that I should consider feedback as a guide not as a only way of making things.
After that I decided to go to the library and look for some artists that would fit to my concept and give me more ideas for silhouettes. I found the artist Stephen Cripps who's work is very much inspired by Jean Tinguely. His work fits to the concept of my project in few ways. Firstly, he uses pieces of old machinery and by interacting with them he creates a tension of a human and machine and art that is created by machinery and by a human. The images from his performances are for me an idea for shilouettes and how to organize them by exploring the combination of crafts and machinery - more solid shpes of his garments remind me on my own designs from experimentation earlier in this project.Makes me think that the balance between crafts and machine made should be visible in the final piece too.
He becomes a machine in a way, his performances are about recreating movements of a machine with a human element in there which is the way I see this process of making a garment - making lucet for 3hours is physically challenging experience and it changes the perception of a craftsman from uniquely made elements to a almost machine made continuous action of making, therefore it has elements of performance. Also if I would use those wire like elements from my experimentation on a bigger scale this would really look like a human within a odd machinery part which could nicely reflect my concept.
Stephen Cripps used a lot of elements of destruction in his works - explosives and fireworks. This makes me think of luddities and their destructive performance-like protests, because of the similarity of purpose. He was destroying the machinery to create new, he did not considered destruction of a machine as a way of protesting against industrialization. He, just as luddites, thought of this act as a way to create new perceptions of a machine and human with it - this makes me think of luddites and the fact that they were breaking machinery only to emphasize their opinion and disagreement on how the machinery is used and who uses it.
Those explosive elements in the works of Cripps make me think of the actual act of painting the air - fireworks that look like fringes or brush strokes are painting the air with this dynamism. That is a way of organizing the shilouettes- if an explosive experiment is an effect of a dialogue of a human and a machine then fringes are also a way to show that but only in few places on the body as where the tension is revealed.
Stephen Cripps workspace looks like a workspace of my grandfather or his shop in general because of the amount of scrap pieces of various machinery and other objects.
All of these elements make him relevant to my project and explain why I decided to look at this artist.
Apart from that I was working on sketchbook and I found a way to control nylon yarn to form it into an actual sample and not just a rolled knit - I placed some wire underneath. This allows me to fully control shapes of the sample and create an effect of a nylon mist-like textile piece wrapped around the body. This is good, because that way of manipulating the textile piece reminds me of painting the air with a fabric- so like bonotto wants to do. It is also a combination of machine production-industrialism because of the wire used or nylon and hand work when combined with nalbinding. I was developing the shilouettes from all samples and shapes I had and I was making the shilouettes more organized by adding elements of previous draping - my tutor suggested me to do that and I think it's a really good idea because it allows me to develop my ideas in a more precised way yet having a connection between all experimentation I have made.
Evaluation of this stage of the project:
What went well?
I know how to approach feedback in a more thoughtful way - I am the one that makes decisions and surely I have to consider all suggestions I get but only when having in mind my purposes for the project which are:
- To define own approach to slow and sustainable fashion
- To use craft based techniques
- To deepen the perception of craft in modern fashion design
- To question the values of mass and polluting production and present a sustainable option for it
- To highlight the problem of air pollution
- To explore the tension between human and machine, craft and mass production.
It's quite a lot but most of these is about same things. This order is not suggesting that any of these is more important than the other, all of that is important and I am the one to realize that by effective editing of work produced and self evaluation with consideration of any feedback I get.
What did not go well?
I did not have time to get the tutorial on research too, just to make sure that everything works before Easter break.
How can I move on from now?
Do more development, samples and on the body draping and develop that. More samples could be good too. I already have a collection of samples for this project alongside some developed ideas but I think I could do more.
Julia Magdalena Labis has not chosen a license for this content.