An interior collection exploring the concept of acoustic textiles and the idea that woven pieces can be used in interior settings to minimise acoustics, through the process of absorbing sounds.
This collection is explored through the means of felting, Canadian smocking, pleating and layering. These fabric manipulation processes demonstrate that the possibilities to create texture are endless and in order to be creative and find new solutions, one has to push the boundaries and challenge the norm.
Following a muted yet sophisticated colour palette, consisting primarily of greys and warm neutrals, these woven acoustic samples aim to complement and work alongside any elegant domestic interior. A splash of colour can be seen at intervals, with the intent to soften the mood of the woven panels, while sticking to a sophisticated and predominantly greyscale aesthetic.
Absorption of sound waves is achieved by the vibration of individual fibres within the felt, making felt as a material one of the best solutions for sound proofing and sound absorption. Experiments using the samples allowed an understanding to be gained into which ones were most effective at absorbing sound, acting as the driving force for this project.
Celesi(a)l(strology) is a collection that embraces the growing trend of zodiac symbolism and spirituality.
In an era of individuality and self-expression, astrology can provide a sense of unity and community - every human being has a star sign associated with their birthday, and similar to the feeling of finding a key-ring with your name or initial on it, it has become increasingly popular so seek out trinkets and accessories that visually express your zodiac sign.
Each astrological sign is placed into an elemental group - earth, air, water or fire. From this, I have created a selection of prints and motifs that explore these groups in more detail, using the birth stones connected to each sign to form unique and interesting colour palettes.
These prints are intended for light-weight spring/summer womenswear, steering astrology away from the typical dark/moody winter colour palette and giving it a bright new life with delicate, hand-finished embroidered details to add texture and playful tangibility.
Inspired by the concept of camouflage and how animals use this technique to disguise themselves predators and prey.
This interior collection expresses the notion of standing out and keeping concealed. Neutral colours are used to juxtapose with bright warning colours. These warning colours are used as cautionary advice to inform animals that this species is either poisonous, venomous, or are trying to mimic these such animals.
Through exploring ways predators and prey obtain a hidden profile, fabrics have been manipulated through fraying and hand smocking to represent this unfocused, indistinctive image.
Motif drawings have been created through the process of dotting to build up layers and shadows, and show detail within the animal. Experimentation through changing dot size and density has also been explored to suggest different ways of representing the notion of camouflage.
"We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates." Junichiro Tanizaki.
Spotlight is a collection of constructed designs that change in pattern and expression when exposed to different lighting conditions. The collection has been created with intensions for the application of interior furnishings and lampshades, designed to promote self-wellbeing in the home through a magical ambiance.
Light is an important aspect for all areas of design; whether it’s how it is used or the lack of light available, each situation will present both disadvantages and advantages to the design. For this project, light is used in ways that will change the original expression and characteristic of a design, whether it’s taking an aspect of the design away or emphasising hints of new motifs that didn’t seem to be noticeable before in the natural light.
Fluid Comfort is an interior fabrics range, designed around the concept of liquid qualities combined with plump, comforting textures. This project combines both printed surfaces hand embroidery detail, using a subtle, soothing colour palette.
The inspiration behind the abstract motifs and patterns is fluid forms, taking inspiration initially from glasswork. As the concept was refined, the focus shifted more towards water and the amorphic forms that are created from the movement of liquids.
Textile designs that evoke the idea of Braille sequences, presenting raised dots that make up Braille in an abstract way.
Dotted clusters in random rhythms rather than structured ones.
My textile outcomes have been designed to provide the desired texture for visually impaired consumers to interpret, with design features that are familiar to the touch and have a tactile interest that give a sense of comfort to visually-impaired consumers who use Braille within their daily lives.
Gathering feedback from my target audience (speaking to sighted and visually impaired consumers), mainly gathering key insights from my Grandma who is registered fully blind, I understood what textural features were desirable and had significance to my target audience.
Gaining this feedback allowed me to produce textile materials that would enhance this type of consumer experience when handling my fabrics.
Braille has inspired my design elements, using various yarns to form abstract clusters of raised dots.
My final fabrics have carefully thought out design features, allowing for interaction and comfort when felt.
These woven fabrics can be used in fashion and interior contexts such as a feature scarf, sleeve suggestion, placement design for a top, and an interior wall hanging.
Creating fabrics that aren’t just visually exciting, but also offer tactile elements is important to me as a textile designer. This offers an additional element to a visual consumer, as well as textural meaning and importance.
This project is about using dramatic elements from the weather as a starting point, this project was to create four A1 scale textiles outcomes, each responding emotionally to extreme weather experiences.
The emotions expressed are Fear, Powerful, Frustrated and Anxious.
These textile art pieces are intended to give awareness about the change in weather that as a society we have noticed. The main inspiration was looking into natural disasters and dangerous weather that has affected our world, for example, the Australian bushfires. It let to the concern of how certain weather can trigger some emotions. and affect our mental health.
Each emotion has its own colour palette with print and embroidery processes used together, making textural surfaces as an important part of the project. Not only has this been explored with textiles, but large scale drawings were made and became a key part of the journey for design development.
Key Words: New material innovation, circular design, bio design, bio-plastic, sharing community, research, experimentation, fashion flare, bespoke fashion, Surface design
The bio-material community is an emerging design sector which focuses on finding new ways to approach sustainable material innovation using green Chemistry. The process of material creation is an amalgamation of science, cooking and design. The driving force behind the material research is centred around bio-degradable materials, the principles of circular design and zero waste.
Sustainable fashion collections often place emphasis on the ‘worth’ of the fibres used to construct the clothes. The collection of apparels is often assembled with fabrics namely, organic cotton, bamboo and hemp. Frequently, the use of these natural fibres is the selling point for the collections. Timeless garment design combined with natural, sustainable materials, is often championed over the textile design element of the collections. Timeless designs encourage consumers to ditch keeping up with trends and the throw away the fashion culture, by creating pieces that are unending in their ability to be worn over long periods of time. The seemingly infinite wear of the items means there is less need to constantly update wardrobes. Subsequently, reducing the accumulation of textile waste gathering in rubbish tips.
The outcome of this project focuses on creating samples for a new fashion concept that balances textile design with innovative sustainable materials and processes. Adapting existing textile processes to be more environmentally responsible: for example; creating an eco-friendly binder for screen printing, to allow surface pattern design to be more viable when creating sustainable fashion collections.
The materials within the project are all biodegradable. Subsequently, the future disposing of the textiles in the project will be less damaging to the planet. The samples are not made to last but are still sustainable, allowing the materials to be led by design concepts spanning further than the fibres used to construct them.
The fashion industry is currently facing a crisis of excess textile waste accumulating in landfill sites around the world. A consequence of the throw away culture many consumers have adopted towards fashion. Fuelling the inspiration for imagery for this project is the period of baroque, a previous time of excess; a period where the ownership of quantity and quality goods was used to show wealth, resulting in the rich owning an excess of land, clothes and other materialistic items. The excess ownership in the baroque period does not differ greatly to the excess amassing of clothes in many consumers wardrobes today, as a result to adhering to fast fashion. The link between the excessive consumption of textiles within today’s society and excess display of wealth in the baroque period, creates the concept of ‘excess in baroque’ to be an ideal line of inquiry to pursue for design inspiration.
The bio-material sector is in an emerging phase, consequently the materials are not available for commercial use. The uniqueness of the textiles lends itself to the bespoke fashion and textile market. In the future, the aim is for the textile innovations that started as part of this project to be commercially viable within the fashion industry, hence the title of the project ‘Fashioning Textile Futures’ .
This collection of samples is for bespoke alternative bridal wear. The designs was influenced by the journey taken within the country of Nepal during winter season.
The journey started in the capital city of Kathmandu, continued through road traveling in Lulitpur district, seeing the two rivers meet, Sun Kosi and Dudh Koshi. Resting in a rural village of Khotang between the deep and winding valleys. Finally continuing forward with the road trip towards the plane landscape of Ihatari district.
Ideas were inspired through the images and videos collected from that journey, which lead to the exploration of nature influenced textures , form and shapes seen during the trip. Furthermore, the colour pallet was exclusive and linked with the experience of the traveller. This led to compositions showcasing intimate and key moments of the journey.
Techniques such as sublimation printing, digital and hand embroidery including couching, tambour beading, and stumpwork, was integrated to further explore the textural designs. All these processes helped to create a detailed narrative within the samples.
This led to a unique bridal wear collection which showcased how well personal moments can produce creative outcomes and different options by breaking the traditional route.
‘For me print and pattern shouldn’t be limited for use just within the fashion and textile industry’
Polished Up Pattern explores a personal journey combining my love for both pattern and beauty. The project has been treated as an entrepreneurial and career focused brief for myself, drawing on the knowledge gained of pattern composition to continue a passion of working in the beauty industry.
This a creative opportunity enabled me to develop a range of surface pattern designs, to showcase diverse artistic skills within in a beauty salon setting. These distinctive designs intended to be applied to a variety of areas within the business, including furnishings inside a new salon environment, branding/promotional content and nail art designs. Already a personal ‘unique selling point’ of the business is the skill to be able to successfully adapt and apply pattern designs to the much smaller surface size of a nail plate.
With a combination of client feedback and trend research key words were identified and extracted, including ‘Power Flower’, ‘Dense Doodles’, ‘Hyper Nature’, ‘Terrazzo Collage’ and ‘Artistic Abstracts’. These key words were used to keep the project driving forward as a reference and to gain inspiration for motif generation predominately through collage and CAD manipulation.