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| IMAGE: Fashion design student Andrea Liu models her pagan Wild Mann inspired design |
The Glasgow School of Art’s Fashion and Textile students, like designers across the world, have responded to the challenges of the ongoing pandemic by presenting their work digitally this year. In a 20-minute showcase 16 third-year Fashion Design 26 third-year Textile Design students unveiled their latest designs using a range of approaches from stop motion animation, collage animation, abstract animation to time lapse, motion capture, digital puppetry, projection and more.
“The pandemic has spurred the need for spontaneous experimentation and provided an unexpected opportunity for innovation to complement tradition,” says Professor Jimmy Stephen-Cran, Head of Fashion and Textiles at the GSA.“Designers globally have had to adapt digital innovation and devise new ways of showcasing their collections, and their ideas, in place of a catwalk. This is no different for 3rd Year Fashion and 3rd Year Textiles students at The Glasgow School of Art where they have had to rethink the conventions of a GSA Fashion Show and somehow bring its spirit to life from the solitude of their bedrooms.”
“In this specially created show reel our students share a wide range of creative content Some of them have explored atmospheric cinematic qualities while others have opted for the quirks of an early TV cartoon. Some have used digital tools to create a catwalk while others have used the back garden.”
Fashion Design students have presented portfolios ranging from womenswear/unisex/menswear over knit and woven and also cover also wider interests such as photography, fine art and cordwainery.
Andrea Lui has been inspired by the Wild Mann – creatures found in various pagan traditions throughout Europe. “Generally, the Wild Mann is dressed like a beast in some pagan rituals, which protect demons,” she explains. “I use fur and leather belt to represent two different forms of armour and then combine the softness of tune to form a contrast, creating an article of protective clothing full of female power.” Andrea has presented her work in a fashion show staged in her flat.
Images: Rosie Ridley takes inspiration from the Abbey Road album for her animated presentation and Luukas Nuoitio presents his collection as a stop motion collage animation
Meanwhile Rosie Ridley has created a collection which is a collation of delicate handmade techniques and vintage tailoring; in which she contrasts flowing, 1970’s inspired dresses with the durability and style of denim workwear. “I have been exploring how various cultures have different relationships and approaches to mending textiles,” she says. “Specifically, how certain mending techniques have become an art form such as colourful fabric patches fixing holes in denim and Japanese Sashiko embroidery.” Rosie presents her work in an animation taking inspiration from the Beetles Abbey Road cover.
Luukas Nuotio spent a lot of time last summer with his 4-year old little brother. “Seeing his reactions to new things, his carefree attitude and pure enjoyment of life in general really inspired me to not take everything too seriously and implement the same child-like attitude when designing my collection,” he says. He has created a new patchwork technique which doesn’t follow a specific pattern, which is inspired by the free-flowing way of Jazz music which doesn’t conform to any musical patterns either. This technique also allows me to utilise fabrics with minimal waste.Luukas presents his collection as a stop motion collage animation
In Textile Design each specialism has been exploring new ways textiles can be applied to the body. There is a diverse range of work with students exploring what a textile means in this context and at a time without workshop access. See how textile students have applied physical and digital skills to communicate colour, tactility, structure and surface.
Images: designs by Embroidery specialist, Emma Campbell, and print specialist, Honor Anderson
Embroidery specialist Emma Campbell has created an eclectic collection of tactile surfaces and objects which can be combined in various, fun ways, all constructed from found materials. “I’ve explored innovative methods to connect and apply my textiles around the body through spontaneous, interactive process, also exploring sensory properties to create ideas accessible through touch and sound.”
Print specialist Honor Anderson’s work
primarily began looking at the indentations caused by the erosion of
rocks, considering the line, shape and composition of these cavities. “Layering
always seems to seep into my projects in one way or another,” she
explains. “In this case, it involved using beamis to bond pieces of
fabric over one another, creating one large piece. As my project
developed, I found the samples held a sinister atmosphere, and had
similar features to that of red blood cells when manipulated in the
right way. I decided to play on this idea throughout the visualisation
process.”
Images: designs by knit specialist, Lucie Peslova, and weave specialist, Abbey Elizabeth.
Knit specialist Lucie Peslova has spent looking after her son, and experience of this together with constrictions imposed have influenced the design of her textiles. It is reflected in restriction of arm movement in the final garment representation. “I also utilised a playful colour palette and development of the textiles, expressing the moments of fun and freedom experienced in the playground that has become a source of inspiration,” she says. “Designing with sustainability in mind, I only used found leftover and scrap yarns.”
“Colour and colour proportion is always my main focus when it comes to design,” says weave specialist, Abbey Elizabeth. “For this specific project I looked into the work of Larry Sultan and his photography, using the colours to create paper collages for my colour analysis. I love working with bold and bright shapes, using the traditional weaving technique of passementerie and putting a more modern twist to it. I love working with chunky materials and textures, such as rope and stripped fabrics to create fun energetic textiles.”
The students have also created handmade products inspired by their own collections that are available to purchase on Etsy. Each purchase will help us fundraise towards attending Graduate Fashion Week and New Designers. Browse the boutique: https://gsafashionshow2021.com/boutique/
See full details of the designers collections https://gsafashionshow2021.com and the digital showcase: https://vimeo.com/524837481/54ed687824
Ends
For further information contact
Lesley Booth
07799414474
@GSofAMedia
Notes for Editors
FASHION DESIGN
The concept of this series is the monster guardian, creating a guardian for children. Inspired by Wild Mann, Wild Mann are creatures found in various pagan traditions throughout Europe. Generally, the Wild Mann is dressed like a beast in some pagan rituals, which protect demons. I use fur and leather belt to represent two different forms of armour and then combine the softness of tune to form a contrast, creating an article of protective clothing full of female power.
Instagram : @andrea_liu1939
My collection is a collation of delicate handmade techniques and vintage tailoring; in which I am contrasting flowing, 1970’s inspired dresses with the durability and style of denim workwear. I have been exploring how various cultures have different relationships and approaches to mending textiles. Specifically, how certain mending techniques have become an art form such as colourful fabric patches fixing holes in denim and Japanese Sashiko embroidery.
Spending a lot of time last summer with my 4-year old little brother, seeing his reactions to new things, his carefree attitude and pure enjoyment of life in general really inspired me to not take everything too seriously and implement the same child-like attitude when designing my collection.
I came up with a new patchwork technique which doesn’t follow a specific pattern. It is inspired by the free-flowing way of Jazz music which doesn’t conform to any musical patterns either. This technique also allows me to utilise fabrics with minimal waste.
The patchwork design is inspired by the landscapes of multicoloured fields you can see looking out of an aeroplane. As our collections are build around the theme “Responsibility”, there is an obvious contradiction between an element of nature that can only be seen in this way from a polluting aeroplane.
insta: @luuka.n
We all evolve and grow but sometimes we can lose sight of who we are in the process. This project has been somewhat of a mirror for me that worked as a portal, taking me back in time to re-evaluate life experiences that have moulded the person I am today. One of the things I figured out while working on this is, at some point I had subconsciously reinvented myself resulting in me losing some valuable personal qualities but also gained a lot, however this switch left me unable to characterise myself. My piece shows two conflicting sides with the knit element which symbolises control, and the chaotic unintentional silhouette of the woven.
The title of my collection is ‘Down in the Dumps’. I feel a connection to my work and this collection is no different. As we all have experienced, this lockdown hasn’t been a picnic. Cramped in my tiny room I became isolated and sad. When we were tasked to look at responsibility as a platform, I really had a eureka moment. Everything we own has some sort of emotional waste, physical waste, and past waste with its manufacture. Everything that I once deemed as pretty shit now had a new shiny and polished appearance. I wanted to push the limits of what I could use around me. Even Looking at cleaning products and the humorous take I could have on their branding to make consumers more conscious about their choices. The true craft of producing something from ‘nothing’ is what I feel adds such importance to the objects we deem as most ‘important and ‘precious’ in our lives. So my message is that you can always polish a shit. Sometimes you just have to see it for what it is and play.
Instagram – @rushlines & @one0us
The concept behind my project focuses on my finding of a subtlety amongst the extravagance of theatre and performance.Through the use of only up-cycled materials, remnants, and my own wardrobe, I aim to create an atmospheric narrative that is responsible for continuing a message as well as a ‘recycled’ garment.
@drawingscorah
SICKLY SWEET
A bag of Liquorice Allsorts. Encapsulating the tasteless Southern American style; The Pageant Sweetheart, Grandma’s Little Brat and The Trailer Park Queen. Together creating a Pick n Mix of flashy, sickly sweet and gaudy outfits.
Reworking the ‘ugly’.
Combining my nostalgia for ‘Girl Talk’ magazines, barbie dolls and naughties fashion faux pas; with my mum’s childhood in America. Focusing on trailer parks, 80s American interiors and beauty pageants. Altogether forming a bratty love-child who’s raided their mother’s closet, threw on pearls and oversized high-heels for a catwalk photoshoot.
A lot of my inspiration has come from State Fairs, the gross over-indulging of fried foods and the aggressive colour combinations led me to experiment more with my textiles. Knitting with ‘candy floss’, ‘deep frying’ my photos and creating ‘food on a stick’
Sustainability and responsible design have always been at the back of my mind when designing. My project is centred around re-using and de-constructing pre-existing pieces to create something new out of something old: giving a new life to something that would otherwise end up in landfill. Gaining initial inspiration from 1940s fashion – a time in which many were forced to ration materials and get creative utilising what they already have on hand – I found a beauty and simplicity in giving an old, tired charity shop find a new life.
Many will do anything to achieve a dream. Perhaps it’s a universal human condition. It provides us with a sense of purpose and something to work hard for. In some cases, people seek glory even when it means to play with death. To summit Everest requires extreme mental and physical strength. I’ve been working on clothing to contest those conditions. Many who reach the summit do not make it back down. My collection this year is dedicated to the women who have reached the summit of Everest, from Junko Tabei to Lhakpa Sherpa, and many other women who are setting new mountaineering records to this day. I’ve been responding to narratives through sculpting ice, knit samples, digital illustration, and moving image.
For this particular project I felt compelled to explore the inner workings of climbing gear, and the environment it is used in, from a knit perspective. Excursions to local caves have allowed me to explore colour, textures and silhouettes of a caves interior through draping and fabric manipulation. The layers of knit are reminiscent to the layers in the rocks, and the woven being man’s interference.
I am fascinated by how certain silhouettes, and even body con garments interfere with the natural shapes of the body. Why we choose to wear certain garments for certain activities, and what purpose they serve; whether that be to protect, comfort or celebrate the human form. In particular, the way the rope has disrupted the natural drape of the trousers, and tight fitted sleeves hug the body. Climbing gear itself serves to protect and aid in the ease of climbing. My collection aims to celebrate the relationship with the caves, and how we almost use nature as a second skin.
@llgough.designs @lydia_love.gough
500 KB Rubber Boots
– Gardening and Early Internet Utopias –
This collection is indeed an unapologetic homage to the early women in tech who believed technological advancements could offer the world flying horses in golden sneakers. This collection also pays tribute to the sexy old people that hold wonky beetroots in their arthritis hands and smile toothlessly, whilst there are still 13,890 nuclear weapons in this world. The romance of 500 KB rubber boots.
TEXTILES DESIGN
My work is all based on my two mixed cultures, Kurdish & Arabic.I really got in touch with my roots and brought out the colours, shapes and traditions . I love my culture clothing as they have a lot of details which I could incorporate into embroidery. As I developed my work I got to use the left over Kurdish clothing fabrics scraps given by the tailors in Kurdistan. I used them in my samples which brought back so many memories of me choosing my own Kurdish clothing fabrics.
Instagram- Textiledesign_a
My work embodies embroidery techniques which connect, distort and manipulate materials. My primary research has focused on extracting colour, textures and visual details from film stills then fragmenting these into collage and gestural mark making. I studied the delicate technique of insertion stitch which led to designing works that can be expanded, through additional stitch and interaction. This created a work which can shift and grow with the owner as their body and taste changes through time.
instagram : @mil.kc
https://www.instagram.com/mil.kc/
My starting point was the Supermarket; I like to use what I have accessible to me from the onset of a project and it worked in my favour that the only place where we’re allowed to be is also a place of rich aesthetic value. For my colour palette, I chose to slightly mute the tones in my primary images to mimic my research, which was photos of 60s/70s/80s supermarket interior. I’ve worked with a variety of mediums to translate my research and drawing into a collection of tufted samples, utilising mundane household items for their material quality rather than intended use; also embellishing and manipulating to transform this fabric. I’ve enjoyed experimenting with scale and composition on a small 3D form and visualising these samples onto the human body.
Instagram https://www.instagram.com/rubyrose.design/?hl=en
Inspired by sensory collected items, I’ve created an eclectic collection of tactile surfaces and objects which can be combined in various, fun ways. Constructed from found materials, I’ve explored innovative methods to connect and apply my textiles around the body through spontaneous, interactive process, also exploring sensory properties to create ideas accessible through touch and sound.
Through collaging with images found within a Public Domain archive, I have created new imagery to draw from and experiment with. I have taken an emblem-like approach to this project by making my own moulds and casting lots of individual resin samples which feature hand embroidery and beading techniques, which can be used to embellish garments and can be made into statement body jewellery and accessories. For more about this project and to see more of my work follow my Instagram page @neotextiles, where I also make sure to post lots of behind the scenes content.
Instagram @ecampbelldesign
Inspired by the repetitive form and structure found in the environment surrounding me, I set out to create a collection of bold, statement textiles for fashion. By using only waste material, my sampling technique was driven by textural quality and material manipulation. I enjoyed experimenting with different ways to connect my designs which inspired the collage-like final garment collection I created.
@s.allardyce_textiles
I have been looking at the textures and colours from different wild landscapes I have visited throughout lockdown. I have tried to convey these landscapes through digital designs as well as knit and weave samples with the focus being on tactility and form. The outcome is a collection of garments and samples made for the body. Sustainability has been at the forefront of my mind, using up-cycled yarns and scrap materials to make samples.
Instagram- @florriepollen
Drawing inspiration from repetitive architectural ornaments and features, I used simple paper manipulation and collaging processes to begin this project. I narrowed a variety of knit ideas – many using elastic to experiment with gathered textures – into a few large samples which I am placing around the body in a similar manner to how I collaged paper in order to visualise my samples as knitwear.
Instagram: rosie_macdougall
I have taken influence from sculptors such as Brancusi and Barbara Hepworth. Using elements of sculpted pieces and distorting them to start the drawing process. I have created a series of lace knit structures for the body which I explored and manipulated digitally to produce a final piece.
@e.r.m.txtiles
Situational perspective of lockdown spent looking after my son and experience of constrictions imposed on one’s reality has influenced the design of my textiles. This being reflected in restriction of arm movement in the final garment representation, while I utilised a playful colour palette and development of the textiles, expressing the moments of fun and freedom experienced in the playground that has become a source of inspiration. Designing with sustainability in mind, I only used found leftover and scrap yarns.
More details on my work can be found on Instagram @laurea_design_studio
My work is inspired by natural shapes taken from landscapes and aerial views on google maps of places in Scotland I’ve visited. Using these shapes and forms I made drawings which had a randomness to them due to my choice of material, I then converted these into punch card patterns to use as a basis for my samples. My colour palettes were based on old photographs of me and my sisters to create continuity of a personal theme to this project. Using thread and a knitted cable I’ve tied my samples onto the body to visualise them.
Find me on instagram @gb_f___
The inspiration for my work was taken from my flat during Lockdown. Being stuck inside forced me to see the space differently, and appreciate the colours, curation of objects, and comfort. Seeing a sanctuary and not a prison. My process usually begins with a combination of digital and physical collages before translating these onto a single bed domestic knit machine. Lockdown has resulted in increased levels of anxiety and panic, with my work I hope to reassure and comfort those who wear it, to cocoon the wearer and relieve stress.
Instagram – emilyddesigns
I was inspired by the Memphis design movement and focused on capturing its linear structures and bold shapes in my photography. I captued interesting compositions of road markings, surfaces and street furniture as my starting point. I investigated different yarn qualities to recreate textural elements from my images and used a monochromatic colour palette with a highlight colour to help bring my ideas to life. I explored playing with scale as well as creating textured surfaces using different knitting and manipulation techniques to help give my samples depth and touchability. Further details of my work can be found on Instagram @textiles_by_p.
My work this semester has manly been about the place I grew up, in the highlands near Inverness. The forests and landscapes have been the main inspiration, especially with the textures and colours of the work.
Taking inspiration from daily walks and everyday scenes at home during lockdown in Skye, I developed this project from initial mark making explorations and observational drawings of my immediate surroundings. Without access to conventional resources, I challenged myself to find alternative print solutions by experimenting with found materials and objects as print tools instead, as well as repurposing old clothing and household textiles from my family. This resulted in a series of textural, location-specific designs, inspired by my living and working environment.
Find me on Instagram @cattinneydesign and Linkedin.
My prints for this collection were inspired by editorial shoots and graphics from a selection of magazines I have collected during lockdown. I worked to create a series of bold, striking prints that work well for unique sportswear/street style clothing. I worked almost exclusively digitally throughout this project via Photoshop and virtual fashion software as a different approach to working sustainably. In the future, I look to challenge the importance of tactility within textile design as well as explore how 3D and AR technology are breaking into the fashion industry.
@mcarrdesign
The source of inspiration for this collection, came from details and patterns found on boats, such as ropes, netting, sails, chains etc. Throughout the designing process I have played around with abstracting these patterns, which has then influenced the shape of my garments. I have achieved these designs through a mixture of two-dimensional and three-dimensional collage work, digital manipulation, and dye sublimation printing.
Instagram: @bethanypringle_textiles || https://www.instagram.com/bethanypringle_textiles/
By creating a still life set up using mundane objects, I sourced photographs to use as my starting point to draw out elements of colour and pattern. I explored repetition which has allowed me to create many variations exploring scale, repeat, colour palette and shape. Within the collection I’ve focused on scale as my point of interest when considering the human silhouette to clothe. The collection I have envisioned reflects 70’s pattern mixed with a modern colour palette. I’m typically drawn to bold striking colours and shapes that are engaging to the viewer in order to promote joy and interest within the designs and the consumers gaze.
Inspired by a still life I set up, as well as colour and form from quotidian walks, my collection captures the subtleties of shadows and multiflorous forms. Juxtaposed with a bold colour palette, I have explored these notions through layering and contrasting materials. The delicacy of silhouette and shadow is embodied in the forms and fabrics I chose to work with, and through the different techniques I used such as digital print and vinyl layers. My designs were created with the idea of them being worn in multiple ways, by different people.
You can find more of my work on
https://www.instagram.com/freyacwdesign/ or @freyacwdesign
https://freyacelestewalsh.myportfolio.com/
For this collection I gathered inspiration from the juxtaposition of colour and shape in the urban environment, translating that through abstracted mixed media painting.
I seek to find a sense of play, movement, and balance in my prints through joyful compositions and vibrant colour.
You can find more of my work on Instagram @rosanna.print
https://www.instagram.com/rosanna.print/
My work primarily began looking at the indentations caused by the erosion of rocks, considering the line, shape and composition of these cavities. Layering always seems to seep into my projects in one way or another and in this case, it involved using beamis to bond pieces of fabric over one another, creating one large piece. As my project developed, I found the samples held a sinister atmosphere, and had similar features to that of red blood cells when manipulated in the right way. I decided to play on this idea throughout the visualisation process.
For this woven collection I took inspiration from the beach as I found it a relaxing escape from the current Covid situation. Selecting a colour palette and collecting materials found around my house I then began to explore and combine the colours and textures. Whilst playing with the materials I became influenced by the current fashion trend of bold oversized coloured suits. I wanted to combine the strong, sharp structure with a twist of playful woven samples
As a runner I am inspired by using my running maps from lockdown to create big scale structures to wrap around the body. The Eastwood High School track and Pollock Park route that got printed for my final garments with some of my Pointcarre technical weave structures. My colour palette are based around Murano glass from my Venice trip last year.
The materials for the weft – sliced up recycled bags, some left over scraps of material from my maps that I cut up, some clear plastics and shinny coloured paper that I used to recreate the shine from the Murano glass. The yarn that I used was merino sport, cotton, acrylic and tweed.
I used the technique IKAT for my weave samples. Making the warp into squares and painting the warp different colours whilst using different weights of yarn that was then twisted together to make different combinations of colour.
Instagram account @jrdntextlies
his project is based on found photographs of family outings before covid. My aim was to use the vibrant colours in children’s ball pools and within fencing exploring the various structures to establish the shapes investigating the vibrant colours to inform my design and colour palette.
This advised my work which has focused on collages and woven structures.
Having sourced end of run wools and selvedge waste to be sustainable in my practise these donated items were used exclusively to create the final pieces using hoop, hand and table loom to providing a visual interpretation of ‘Textiles for the Body’.
Instagram : @s.mcwilliamstextiles
Facebook : @designedbyaslans (Unique designs by Aslans)
Colour and colour proportion is always my main focus when it comes to design. For this specific project I looked into the work of Larry Sultan and his photography, using the colours to create paper collages for my colour analysis. I love working with bold and bright shapes, using the traditional weaving technique of passementerie and putting a more modern twist to it. I love working with chunky materials and textures, such as rope and stripped fabrics to create fun energetic textiles.
@aelizabeth_textiles
I collected images from the Glasglow exhibition as my primary research. Taking elements and creating colour palettes from collaging photos together. Mainly I worked digitally to create drawings playing around with bold shapes and repeat patterns that would translate well into a woven samples. I enjoyed experimenting with a range of materials and a black light to create a glow in the dark effect for my textiles.
@adelemcc_textiles