Thirty seven 3rd young designers unveiled their collections on the catwalk in The Glasgow School of Art’s 2020 Fashion Show today, Tuesday 10 March.
This year’s main theme is PLAY with the third year Fashion Design and Textiles Design students each having created a collection of three different looks.
Textile Design students across Embroidery, Knit, Print and Weave specialisms also addressed inefficiencies in fabric use by seeing fabric waste as an opportunity to explore zero-waste approaches to garment making.
“Some of the students have played by their own rules, (rather than follow convention) or been playful and taken light-hearted and whimsical approaches to experimentation,” says Jimmy Stephen-Cran Head of Fashion + Textiles at the GSA. “Others have simply hit play and gone on an unrestricted adventure.”
The show, which was staged in the striking setting of The Briggait, began with a selection of White Shirt and Black Silhouette designs by 2nd year Fashion Design students.
Headline sponsor for 2020 Fashion Show is St Enoch Centre. Anne Ledgerwood, General Manager said:
“Glasgow has long been a hub for dedicated followers of fashion thanks to the strong retail offering, coupled with the creativity and diversity of the city. The Glasgow School of Art Undergraduate Fashion Show is an excellent opportunity to see the creative talents of fashion’s future leaders first-hand. St. Enoch Centre is proud to sponsor the show, ensuring students have the opportunity for their designs to dazzle on the catwalk.”
For information on the inspirations for the collections see Notes for Editors.
For further information contact
Lesley Booth
0779 941 4474
@GSofAMedia
Notes for Editors
TEXTILES DESIGN
KNIT
Athena Munro.
The collection is inspired by the architectural forms of New York at night. Exploring dark colour palettes with a combination of contrasting yarns to create three dimensional knitted structures.
Jessica Hay.
This collection is inspired by the unique shapes and textures found in Glasgow’s salvage yards. Exploring positive and negative spaces and taking a collage approach to assembling the garments
creating a traditional silhouette with a conceptual composition.
Jessica Turnbull.
My practice focuses on the structural juxtaposition found with- in architectural repetition, translated into knitwear. Using all digital, domestic and industrial applications bringing variety
into my collection ‘subliminal structures’.
PRINT
Izzie Castle.
PLAY. This collection explores the contrast between the rich heritage of linen and zingy abstract shapes derived from painted fruit and vegetables. We consume so many images everyday that our brains become saturated by visual stimuli. I wanted to encapsulate the excitement felt in childhood when everyday objects were new and evoked happiness.
Rowan Tothill.
Kids clothes you’ll never grow out of. Why should kids have all the fun? This collection is the equivalent of jumping head first into a box of oil pastels and into colour and chaos of a child’s mind. Lets finger paint on all the walls! Because all I want to wear is squiggly wiggly shapes that make me feel happy.
Hermione Fenton.
Recently I have been inspired by how humans try to recreate the nature that they destroyed and use fictional environments as an escape. My current work is predominately based on my research o artificial natures and environments in our society.
Deborah O’Leary.
My work is a combination of photography and traditional/contemporary print techniques that explore the interaction of light with objects.
WEAVE
Kathryn Halliday.
My collection is based on amusement arcade machines and viewing them through the eyes of the player. I spray painted waste fruit machine and pool table parts to form a colourful instillation,
focusing on different aspects of their shapes to inform my development process. My three garments are a combination of four weft Jacquard sections which are complimented by striped top
panels woven on a Swiss arm loom.
Yoko Hara
Inspired by a children’s book, written by Sukumar Ray, which reminded me of my childhood and a Ghibli movie that was very atmospheric, with a spiritual feeling, and the location it was set in made me think back to my travel in the old towns of Hue and Hoi An in Vietnam. The lantern in the night makes a contrast of dark and light with a mysterious atmosphere. Also there are historical and ancient patterns in the old towns. My woven design represents bold historical patterns with the contrast of black and bright colour on a large scale.
Gillian McPate.
Through my collection I aimed to represent primarily the vibrant colours and wrought iron houses of Iceland’s capital city as well as a sense of the fluid nature of the city’s infrastructure and its symbiotic existence with the environment surrounding it. My garments have been woven by hand using a traditional George Wood Dobby loom and 100% Lambswool.
Emma Chen.
Although my project was inspired by the stills from ‘Farewell My Concubine’ and connected to my secondary research. By using different medium and scales to draw from those elements considering colours, patterns, sharps and textures. I found working in larger scale really useful to develop my ideas further in textiles
Sophie Campbell.
Check mate! Crucial elements within my collection are PLAYING and RECYCLING. I have gone with a chess board inspired, monochrome mix with hand manipulation techniques – all of which are upcycled materials - moving away from the more traditional weaving. This forms an essence of originality within my designs, as the weft textures are sourced to give something a new beginning. The colour is inspired by the colourful Oban bay, my home. The idea is to create pieces that create a sensory response, building a different reaction for all eyes to interpret. You can create your own chess board, when you reuse old pieces
EMBROIDERY
Clare Simpson.
My collection is inspired by children’s ABC books. An alphabetical list of otherwise unconnected objects and animals sparks the imagination. Children’s books often have absurd, imagined creatures and use nonsense to help us make sense of the world. My collection plays with the idea of fictional hybrid animals and mixes traditional smocking and manipulation techniques with digital and 3d embroidery.
Hannah Pocock
Nostalgic significance and joyful memories can be present in any object. Hannah’s illustrations of such objects are translated on to garments using reconsidered hand embroidery techniques.
Megan Allan
My practice explores the comforting effects of plants and botanical forms on the human senses. Through playful experimentationwith waste and scrap materials, I have combined stitch and manipulation techniques with a soothing colour palette, aiming to translate the organic and tactile textures discovered through visual research.
Sophie Downes.
Children’s storybooks, with their imaginative illustrations and use of rhythm and rhyme,were the triggers to my embroidery-focused collection. Keeping the idea of ‘PLAY’ central to my designs, COLOUR and SHAPE remained an important factor of my work. Having created my own ‘jigsaw puzzles’ earlier in the process, the COMPOSIITION of shapes had to be considered. MOVEMENT, echoing the rhythm of storybooks, was achieved through a mix of traditional embroidery techniques and fabric manipulation.’
Holly Smith.
Deconstruction and repurposing of materials encapsulates Holly’s collection. Through combined traditional embroidery techniques and tactile sampling, the garments aim to reimagine the familiar.
Harvey Youngs.
The vivid lights and exuberant attractions at Margate’s iconic Dreamlandvokea nostalgia of seaside amusement parks in their 20thcentury heyday. By patching together drawn threads and textural fringing, the deconstruction of natural fibres in this collection create surfaces reminiscent of these retro visions.
Kialy Tihngang.
A collision between the natural world and the built environment, mixing the formal qualities of Brutalist architecture with the textural qualities of mould and decay.
Elise Prentice
my collection is born from a series of drawings from a photoshoot of ‘adult play-things’ with the goal of creating a collection that hints both at the intimacy of adult experiences while also contrasting them with rougher, more rebellious aspects as well.
Archie McGoldrick.
I wanted to explore with my garments the vibrancy of colour, shape and form. I was Looking at organic structures and juxtaposing it with geometric lines. Amplifying it by using techniques such as fabric manipulation, creating my own fabric texture, playing around with pattern and bold colours.
Bronagh Murray.
Pieces inspired by paper manipulation and pleating.
Peter Bajenski.
This collection has been inspired by body modification, areas of rope make up areas of wadding which highlight enhancement and acrylic pieces trapped under mesh are able to be pulled and
distorted to further highlight modification
FASHION DESIGN
Kirsten Webber.
Putting on a facade enables us to PLAY the roles we desire in life and frames how we view ourselves and how we are perceived by others. My collection draws inspiration from the
juxtaposition of past and present; masculine and feminine; strength and softness and structure and fluidity.
Harriet Stainthorp.
Harriet presents Pre-Raphaelite Club Kids in a story of scandal featuring Gabriele Rossetti, his mistress, wife and muse. Clashes of hazy, heated colour allude to a dream like and romanticised state, one shared between creatives throughout time.
Xi Ling.
Xi looks back on a period of culture devastation in Chinese history and collates what had been abandoned at that time. During her years stay in the west land and visit to Rome, she
found a harmony of new creatures that sit amongst the ancient world. In Xi’s collection, she embodies Chinese traditional wear combined with western tailoring and her own artistic interpretation.
Amy Huang.
My project has involved personal experience and identity of being hearing disability to capture the “ true voice” around me, this led me to trace back to my childhood which realised that part of memory of ending “right voice” is missing. Focused on recreate blurred image of what is like to be loss of hearing
and memory to evoke the environment and place that I feel comfortable within insecure mind.
Jade Perez.
My project is based on the idea of a New Eve, after the apocalypse. A new era, a New Woman, landing on earth and starting anew. She wears highly protective garments inspired by twenty-century deep diving suits and American football/ Hockey paddings which are integrated into an Edwardian silhouette. I’ve been inspired by science action and the current issues that we face as human beings.
Emma McGachie.
I have taken Stereotypical silhouettes from working class culture, using tailoring in unconventional ways through sportswear to create a sense of mundane reality within my collection.
Nicole Norman.
The collection is based on the conditions of the maritime environment. Looking specifcally at fishermen and combining both outerwear with undergarments to create slouchy silhouettes that evoke sense of lethargy.
Martha Mahala Gladwin.
Martha creates a powerful cowgirl fantasy by building on the American dream and claiming the strong and sexy characteristics of cowboys in history and Hollywood. Just like Dolly’s coat of many colours, she creates patchwork fabric for her garments by up cycling waste
Poppy Brooks.
“If you ever saw a butterfly”. The world we knew is changing…Let youth return to innocence, to childhood and forever days of summers; our friendships and the games we play, journeys to the end of the garden. Running away and returning home.
Manni.
After relating the sentimental attachment to objects of isolated hoarders and the alienation of her own experience, Manni creates an oversaturated whimsical collection of prints, textures and silhouettes entitled ‘Hoarding Rules’.
Teresa Paterlini.
Amarcord. “Tradition is a matter of much wider signifcance. It cannot be inherited, and if you want it you must obtain it by great labour. It involves, in the first place the historical sense, (…) and the historical sense involves a perception, not only of the pastness of the past, but of its presence.” T.S.Elliot
Minje.
Analyse, Destroy and Reconstruct. These are the steps how I perceive not only and object but also a human body. I focus on a phenomenon between the second and the third which people call ‘The time of Dogs and Wolves’ and also expressed by traces of human movement like Contemporary Dance.
Arthur McNair.
Arthur’s research explores 1950s American music and literary culture – Soft tailoring and hard wearing fabrics looks to unite the everyday with formality.
Sophie Jenkins.
“Bad luck isn’t brought by broken mirrors, but by broken minds,”DARKNESS, TEARS AND SORROW. Inspired by Dario Argento’s supriria trilogy of broken minds and the hyper stylised gore in Giallo movies.