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Vol. 13 Issue 08 Textiles | Surface | Craft

Textiles | Surface | Craft

Foreword Editorial

Features 12—13 34—35 114—115

Things by Jenny Lee

08—09 10—11 64—65 88—91

The Urban Nomad Surface Design Show Exhibition Competitions The 13 Collective

Placement News Graduate News Watch This Space


04—05 06—07

What’s Next?

The Vision


38—39 62—63

Knit + Stitch iGem

The Portfolio

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A collection of up and coming graduates work from Textile Design BA(Hons), Surface Design BA(Hons) and Textile Crafts BA(Hons).



Becki Carlin Amy Scott Rosie Preston Catherine Cordwell Amy Yarwood Rose Street—Simmons Emma Hodgson Faye Seale Victoria White Justyna Kmiecik

Charlotte Hall Virginia Hickey Louisa Crompton Harriet Rich Laura Cadman Cheryl Lewis Katie Fisher Cecilia Erlandsson Laura Greenwood Chrysoula Papoulia



Charlotte Wibberley Eileen Slatter Hannah Coulson Olivia Chapman Mark Choi Hermione Middleton Emily Turney Sarah Everington Jessica Firth Laura White

Emma McMinn Charlotte Nash Claire Montgomery Laura Dobson Heather Irwin Kerry Cantwell Deborah Scott Michelle McCrory Laura Carter Toni Sturrs



Foreword Dear Graduate, Initially I was most flattered and excited to be asked to write the foreword to this year’s catalogue but then the fear set in as writing has never been my strong point. So after lots of consideration and procrastination I have decided to make my message very simple and personal. I am addressing this piece to this year’s students who I have found to be a very talented and lively group. I hope that as graduates you all appreciate the fantastic opportunity that you have had at the University of Huddersfield on one of the most respected textile courses and being taught by some of the best staff/practicing artists and designers in the country. So far, I have had the most wonderful career in the world of fashion and textiles almost beyond my wildest dreams. My career has been divided between setting

up small businesses, working in the industry and education. It has been the backbone of my life even when the chips are down either personally or professionally I have had faith to carry on, work hard and push ahead. I take every day as it comes and look forward to the next. I try never to look back or blame others for my mistakes, that’s too easy, and even if it is someone else’s mistake I often take the blame. I am far from perfect and never will be. What I have always tried to do above all is do my best or even better than my best. I strive to be as good as I possibly can. Things don’t always work out the way I want them to, I have not always made a success of every job that I have done. I have of course made some terrible mistakes. I don’t dwell on those! I always remember the saying “if at first you don’t succeed try, try, try again.” If I can’t get something one way I will try another, but of course I am not always able to win, I will never give up. I am 4

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above all very determined. I have worked incredibly hard but loved every moment of it. Once I realise my own weaknesses I have tried to work with others whose strengths fill in for those weaknesses. My success has often helped others succeed and vice versa. I have never done anything alone. I have always had masses of advice from others and this has helped me on many, many occasions. I try to listen carefully and respond as well as I can. I also try to see the funny side of things and not to take it all too seriously. I am always challenging myself and often put myself in difficult situations. I thrive on stretching myself. I have always tried to keep a good work/life balance although I know at times that I have had to work incredibly hard and for very long periods of time especially while I was establishing myself.

beginning of your career. It is launching your future. Now things are up to you. The first thing that I urge is above all be determined, don’t give in, ever. If you want something badly enough you will succeed but nothing comes free, you have to work hard for it. You will make mistakes but be open-minded and take risks. If you can be strong but be humble and above all see the funny side of things, have a sense of humour. Have aims, be prepared to do all sorts of jobs to reach your goals, always be willing. There are times when you need to listen carefully to others. Keep a good work/life balance. Enjoy! I wish you all a fantastic future. Have fun! If I can ever help in any way please don’t hesitate to get in touch. I may not be able to help but “I may know a man that can!”

What I am trying to say through this is that firstly this catalogue represents the 5

Professor John Miles — Visiting Professor, Bath School of Art and Design.


Editorial There are many fresh ideas in this year’s catalogue which have emerged from creative collaborations and they form the heart this year’s edition. For the first time, too, our catalogue showcases the work of students from all three textile courses; Textile Crafts BA(Hons), Surface Design BA(Hons) and Textile Design BA(Hons). Viewers will quickly see how they shared their knowledge and skills –one of our guiding principles- and how success followed. Our thanks go to Professor John Miles who provides the foreword. As ever he is honest and insightful in his personal address to the students and, reflecting on his own career, emphasises how collaboration, hard work and perseverance are the key to a successful future. He is not afraid to encourage students to make mistakes, take risks and to be both strong and be humble. Joanne Harris’ account of the ‘Surface Design Show’ and her detail of live student

projects in both industry and the wider community is a good example of the fruits of joint enterprise. Again, embroidery designer Melissa Holroyd and final year student Jess Travis reflect on their exhibition at ‘The Knit and Stitch Show’ and discuss how this joint venture enabled them to question their own separate working methods and evaluate them critically. It is good to see that our students are continuing to make an impact in the creative industries and building upon their achievements, as is amply highlighted in Nicola Redmore and Daniel Matthews’ account of Graduate and Placement News. Running through our catalogue is a series of inspiration pages with contributions from our first year Textiles with Surface Design BA(Hons) students who, through the use of imaginative play, managed to free themselves from ‘taught’ methods 6

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of design. Taking on the persona of the ‘Urban Nomad’ their scavenge hunt for found materials resulted in the creation of a collection of inventive tools. Of course Sample 13’s production once again stems from the vigour and passion of our students and staff working together, and teamwork is at the heart of this project. Students took full and active roles, working collectively on fundraising initiatives, organising photoshoot venues and bringing together a variety of promotional aspects to their final year degree show. This edition of the catalogue is also the first to have Joint Editors and we are fortunate to welcome Jenny Lee to the team bringing with her new energy and vision for the project. The production of this year’s catalogue marks the third in our collaboration with the graphic design course. In this regard

special thanks goes to Benjamin Bostock and Jake Greenwood for their creative input and commitment to the project. They are both second year students who have taken up placement positions in the department and, with it, the responsibility for designing and compiling the catalogue. I hope you enjoy the inspiring and diverse collection of work created by this year’s textile graduates who have pioneered novel approaches to textile making in their exploration of both traditional and unconventional methods and materials. They have interwoven new and old technologies to create innovative work that continues to challenge common perceptions of textiles. I wish them every success in the future, a future with which I hope they will continue to engage and make their own - independently and collaboratively - pushing the boundaries of practice. 7

Clair Sweeney and Jenny Lee — Editors


Urban Nomads In the 21st Century where uncertainty and ambiguity exists due to economic and political issues, a new generation of workers/travellers live and work within an urban culture but do not reside permanently in any one location. They transplant themselves to new cities across the globe, following their dreams, aspirations or careers. An Urban Nomad lives a free lifestyle, free from constraints, with the ability to adapt to any living environment. They are extremely resourceful, scavenging and hunting for new materials, whilst challenging the boundaries of consumerism and design.

First years were set a task to take on the role of an Urban Nomad. They were required to hunt, scavenge and gather new materials from nature’s and man’s leftovers. The aim of this workshop was to engage our students to be playful and imaginative and to free themselves from ‘taught’ methods of design. The students were expected to re-engage with a material, to become kinaesthetic learners, which enabled them to explore a material in greater detail. Thus allowing time for exploration, time for imagination and time for comprehension. Jenny Lee and Nicola Perren


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Coniston Finds Drawing Tools by Nicola Perren


Surface Design Show The Surface Design Show celebrated its 10th anniversary this year in February at the Business Design Centre, London. It is the only UK trade show that focuses solely on cutting edge and innovative materials for the interior design and architectural industries. The show is unique as it focuses exclusively on material surfaces for design: exhibitors at the show include independent designers and international companies specialising in glass, wood, tiling, stone, textiles, and new materials for wall and ceiling coverings. The Surface Design BA(Hons) course at the University of Huddersfield has exhibited at the Surface Design Show for the past seven years and has been the only educational exhibitor for five years. A series of feature exhibits have been curated each year which include themes such as; ‘Material Curiosity’ and ‘The Extraordinary Materials Testing Station’.

This year the course exhibited under the theme ‘Ideashaus’. The 2013 showcase was inspired by the Bauhaus teachings and belief in freedom of creative expression as a basis to inform functional design for creative industries. The ‘Ideashaus’ explored a range of material surfaces for glass design, digital carpet design, wall coverings and LED lighting concepts. Students on the Surface Design course work on a range of industry sponsored projects, the companies over the years have included Ege Carpets, Interpane, Nova Glaze, Leeuwenburgh Veneers and Tektura Wallcoverings. This relationship enables students to see their work go into production. If you want to see our latest innovations please visit our stand at next year’s Surface Design Show.


Joanne Harris — Course Leader — Surface Design BA(Hons)

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Placement News


Daniel Matthews — Surface Design BA(Hons)

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Placement News When deciding what type of experience I wanted to gain from my year in industry, I reflected upon what would be most beneficial to my future career. I felt that relocating to London would provide me with the best opportunity to experience a variety of different roles within the design industry; this varied experience would enable me to make a more informed career route choice. Since moving to London I have worked for companies such as Liberty, Marks and Spencer, Thornback and Peel and Jonathan Saunders. During these placements I had the opportunity to experience a variety of roles such as design assistant within the accessories department for Liberty, colour trend forecasting and studio assistant. Currently, I am completing the last few months of my placement year as a Print

and Artwork Intern for the Fashion Designer Jonathan Saunders. I am working on his most recent pre-fall and Autumn/Winter 2013 collection, I have been able to see the whole process develop from initial concepts, to the construction of the finished garment, and to finally see the collection go down the runway at London Fashion Week. It has been a memorable and worthwhile experience, knowing that you helped to achieve and realise his vision. Since starting my placement year I have gained invaluable experience, which has given me more confidence to follow my own ideas for final year. I have gained knowledge about the various print processes and developed my CAD skills further. I am looking forward to going back to university and can’t wait to apply this experience to my major project.


Thornback and Peel — Design Studio

Becki Carlin — E:

Students Contents


Project Title: Fabricating a Community

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Becki Carlin I enjoy being part of a community, this has been reflected through my practice in my final year of university. Participating in ‘The Sleeping Bag Project’ was where the theme of combining the community with textiles began. I was able to converse with those at the homeless shelter and then go onto customise sleeping bags for those homeless people. Following my previous body of work based on my own personal experience of caring for the sick on pilgrimages to Lourdes, my work has continued to have a sense

of community within it. Previously I have incorporated sentimental items into my work by using my Grandma’s scarve’s. I have developed this by collecting donated scarves involving the community. Having carried out some voluntary work in a local care home, I have had the opportunity to engage in conversation with this community of people. I wish to bring movement and life back into these donatated items through the use of stitch, by reflecting upon people’s nostalgic memories.



Amy Scott — E: W:



Project Title: Mythological Enchantment

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Amy Scott


Keywords: fantasy, ethereal, translucent, fragile, romantic, dreamlike

Rosie Preston — E: W:



Project Title: Pixel Craft

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Rosie Preston I aim to blur the boundaries between digital drawing and hand craft through the medium of handmade rugs. In the modern world, we often view images through technology such as smartphones,

computers and tablets. This approach to viewing imagery has given us an idealist view of how a subject should look; a rendered reality.




Project Title: Mundane to Unique

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Catherine Cordwell — E:

Catherine Cordwell


Keywords: mundane, material, create, make, colour, uniqueness

Students Contents

Amy Yarwood Project Title: Etiquette


Amy Yarwood — E:

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My fabrics have been created with the intent of being the first selection of those looking for unique, beautiful designs to compliment the bespoke making skills of trusted craftsmen. Meticulously considered and created, each piece begins life as organic cotton, linens and other vegetable yarns, which are dyed and woven by hand. Each


warp and weft is purposefully considered and created to complete an overall elegant finesse. No two designs will ever be the same, making each a truly unique piece. 100% vegan and organic, my designs are created with consideration and care every step of the way.


Rose Street—Simmons E: W:



Project Title: The Benefit of Hindsight

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Rose Street—Simmons


Keywords: heritage, iconoclastic, evolution, erosion, rebirth


Emma Hodgson —E:

Emma Hodgson


Project Title: The Wonder of Geology

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Keywords: inner beauty, layering, texture, minerals, geology, felting

Faye Seale — E: W:



Project Title: The Best Way To Travel

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Faye Seale


Keywords: modern, busy, simple, bright, creative, exciting


Victoria White


Project Title: Misplaced Memory

Victoria White — E: W:

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Keywords: haze, translucency, forgotten, distorted



Project Title: Hidden Beauty

Justyna Kmiecik — E: W:

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Justyna Kmiecik


Keywords: details, layers, scale, painterly, close-up, mark—making

Graduate News

Graduate News The graduates from the textile courses continue to use their placement year experience to help them get onto the vital first step of the career ladder. The graduates from the knit, weave and print specialisms have combined their knowledge of textile design, fabric structures, properties and performance with an in-depth passion for their specific area of study. This blend of creativity and technical know-how has already resulted in the graduates of 2012 gaining employment as designers, assistant buyers, textile-technologists, textile artists and surface designers. Victoria Bird and Charlotte Hall who were both supported with scholarships from the Worshipful Company of Weavers during their final year, have taken two diverse career paths. Charlotte secured a position in Italy with Fiorete SpA as a designer for interior fabrics and Victoria is an assistant fabric technologists for London based AAK Ltd who supply menswear to M&S, House of Fraser and John Lewis. Robyn Fisher one of the knit specialists has gone on to work for Jo-Y-Jo a knitwear supplier to many high street brands and

another, Melissa Gates has moved to Belgium to work for C&A. A buying position with Aldi stores has been the reward for Amy Hilton, another knitter whose placement year was spent learning about the complex world of automotive interior fabrics. Since graduating, Anthony Hughes has received great acclaim and feedback about the Industrious Senescence flooring concept he developed during his final year. The product was exhibited at a number of international shows including The Surface Design Show, Eccobuild and Surfaces show, as well as being showcased in many industry specific publications; Tomorrow’s Flooring and IDentity Magazine, UAE. This has led to Anthony securing a place on the Universitys ‘Activ8 Your Business’ programme for the development and startup of his surface design studio and online store, launching in June 2013. The print graduates have also been very successful in gaining positions as Womenswear Design Assistants with M&S, Accessory & Home Product Designers and even as Graphic Designers with Sky.


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Nicola Redmore — Course Leader — Textiles with Surface Design BA/BSC(Hons)


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Aesthetic Enhancement Tools by Rebecca Rose



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Knit + Stitch The Knit and Stitch show is one of the largest textile events in the UK, attracting thousands of visitors and exhibitors. This year, embroidery designer Melissa Holroyd and final year student Jess Travis were asked to exhibit and represent the textile courses at the University of Huddersfield. Exhibitors enthusiasm and passion for their practice was evident in the work displayed and subsequent conversations. [JT] Presenting the collections to compliment our individual style of working was challenging, but enabled us to see our work from a fresh perspective. In my own practice I am interested in how play can be used to generate ideas, and how trial and error can be used effectively within design. Much of my work deals with how form can be created with embroidery similar to Melissa, who uses the laser cutter in her practice along with embellishment to produce samples with dimension. My approach to my practice is the mixing and cross-fertilisation of techniques, taking an unconventional process creates abstract and unexpected results. [MH] My Embroidery practice centres around processes and materials, the two being intrinsically linked and one driving

the other, with work often evolving from finding new ways of applying traditional embroidery techniques. During the exhibition, Jess and I continued to work on our samples, utilising the opportunity to set up a live workshop space to show designers in practice. This proved to be an integral part of the exhibition for us both, providing opportunities for a dialogue to be opened up between the visitors and ourselves as practitioners. This dialogue led to reflective and critical discussions surrounding key themes such as material, technique, practice and presentation. Working in this manner enabled us to identify key areas of each other’s practice, leading us to critically question and evaluate our own methods of working. [MH & JT] The experience has been highly valuable, it has enabled us to present work within a public context, reflecting on our own practice and opening up opportunities for debates and discussions surrounding the central theme of challenging new methods of design within contemporary practice.


Charlotte Hall — E:


My current work is a collection of hand embellished and embroidered fabrics for fashion, based upon my visual investigations into new and innovative technologies, in particular nanotechnology and its future implications for mankind. The imagery in my work stems from a range of sources: technical diagrams of DNA molecules, equations for the base root of computer programs, cross-sections of nanoparticles and enhanced close-up detailed photographs of circuit boards. Computers surround us in our daily lives and are no longer as extraordinary to see Project Title: Smart/Casual Genes

as they once were, but if looked at closely they have a certain beauty of their own, something I seek to explore and expose. I am particularly interested in the idea of layering individual pieces together in order to conceal and reveal areas of detail and colour, and work with a variety of weights and opacities of fabrics to explore this idea further. Each piece is hand stitched and beaded to produce a series of truly unique oneoff fabric designs. They are beautifully embellished and aesthetically pleasing, both individually as well as layered as a collection.


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Charlotte Hall


Virginia Hickey — E: W:



Project Title: Poetic Memories

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Virginia Hickey


Keywords: beautiful, intricate, delicate, memories, hand embroidery

Louisa Crompton — E: W:



Project Title: Rendered Reality

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Louisa Crompton ‘Rendered Reality’ approaches design for interiors from a fun and playful angle. By using bright and bold colours in various shapes, blocks and lines, I hope to convey elements of ‘play’ and ‘interaction’ within my designs. ‘Rendered Reality’ brings

together the craftsmanship of traditional hand and machine knitting techniques and combines them with a contemporary digital aesthetic that is carefully considered to fit the appropriate market.


Harriet Rich — E:



Project Title: Wrap and Reuse

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Harriet Rich


Keywords: gift wrap, origami, charm, stitched, nostalgia, story telling

Laura Cadman — E: W:


Laura Cadman My current work is inspired by two themes, still life and cloth memory. Using still life arrangements, I create mark-making drawings on a large scale. I work with a variety of materials during the drawing process to enable me to have a large breadth of marks to translate into stitch. I like to experiment with the hand stitches I use in order to create the different marks made in my drawings. When preparing my fabric my second theme takes hold. I am fascinated and inspired by the memories that cloth can

hold; particularly the wear and tear of the clothing of those unfortunate people who had no choice but to labour away in the harsh Victorian workhouse. An example of my development of this theme was my manipulation of my surfaces by staining them with dye, and wearing down the fibres by using sandpaper. It is also this labour intensive theme that inspires me to create my work purely by hand. In an effort to replicate the atmosphere and struggle of the workhouse I adopt these repetitive, tedious and time consuming ways of working.


Project Title: Memories in Stitch

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Project Title: Mirage

Cheryl Lewis— E: W:

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Cheryl Lewis


Keywords: contrast, texture, colour, perspective, distortion, abstraction

Katie Fisher — E: W:



In a world where light becomes tactile, ‘Urban Clarity’ questions our understanding of where and how light appears. Project Title: Urban Clarity

Concrete and plaster are embedded with plastics, creating luminosity and translucency where an impenetrable surface once existed.

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Katie Fisher


The preconceptions of such utilitarian materials vanish to make way for a new era of surfaces, that embrace the surrounding light.

‘Urban Clarity’ will become a range of materials that have been developed to provide solid yet transparent surfaces that can be applied to interior, product and furniture design solutions.

Cecilia Erlandsson — E: W:

Contents Students

Cecilia Erlandsson


Project Title: Scenes from a Marriage

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Keywords: fun, bright, clean, quirky

Laura Greenwood — E: W:



Project Title: Human Surface

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Laura Greenwood The concept of this project is to inspire a tactile future, reconnecting humans together through the sense of touch. It evokes the impression of moving away

from the digital age and believing in a more luxurious handcrafted world, making us question our reliance on technology.



Chrysoula Papoulia — E:

Chrysoula Papoulia


Project Title: Transcendent

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Keywords: colour, line, mark-making, fashion, bold, pattern


“These remains are thought to have been parts of larger tools used by prehistoric families. They would have originally had long handles and could have been used to for hunting and scavenging.�


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Archaeological Remains of Prehistoric Tools By Jessica Berry


iGEM iGEM or ‘the International Genetically Engineered Machine competition’ is a worldwide undergraduate Synthetic Biology competition. Each team is “given a kit of biological parts at the beginning of the summer from the Registry of Standard Biological Parts. Working at their own schools over the summer, they use these parts and new parts of their own design to build biological systems and operate them in living cells.” (iGem, 2012) ‘Quanticare’ is a project developed in partnership between designers AnnKristin Abel, Amy Congdon and Jenny Lee, and the 2012 NRP-UEA iGEM team, with the aim of exploring the ethical implications of Synthetic Biology. The collaboration allowed the students to think about the wider context of their lab work and allowed the designers to explore what potential new materials and techniques they could be using in the future.

The resulting film explores the potential future uses of the science the iGEM team have been working with, namely that of Nitric Oxide sensing. The team worked throughout the summer on developing a new method of quantitative computing using bacterial sensors, which has implications for cancer detection and treatment. The film presents a future with highly sensitive disease monitoring and personalised healthcare provided by the imagined company ‘Quanticare’. The intention of the project was to explore the implications of this technology by presenting viewers with a way in which it may impact on their lives. The NRP-UEA team presented the film in October 2012, at the European iGem Jamboree in Amsterdam, to a great response from the audience and judges. The team went on to be awarded a gold medal for their project. iGem -

Amy Congdon, Jenny Lee and Ann-Kristin Abel - Researchers


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Competitions Society of Dyers and Colourists The Bradford Textile Society


Janine Singleton — Surface Design BA(Hons) - Student entry for SDC Competition

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Yearly participation in national and international competitions is an important part of the student activity within the textile department at the University of Huddersfield. In the 2012-13 academic year, three final year students were selected by staff, for entry to the Society of Dyers and Colourists (SDC) Design Competition. The brief this year, ‘Fashioning the Future’, required the entrants ‘to demonstrate the creative, imaginative and original use of colour in either fashion or textiles.’ We were delighted that Sarah Everington, a knit specialist from the Textile Design course, won the regional heats with her innovative approach to sustainable design, using natural dyes on knitted interior fabrics. Sarah beat off strong competition from a number of other universities in the northern region to win a place in the national final in April.

The Bradford Textile Society Design competition saw a number of students from the textile courses enter categories for woven fabric design, knitwear design as well as print and combined processes. We have been very successful over the years in this hotly contested national competition and this year has been no exception. Aimee Larson, a first year student on the new Textiles with Surface Design course won first prize in the ‘Holland and Sherry Award’ for demonstrating the best combination of colour and weave. Tamsyn Ainsworth and Naomi Scrafton also first years’ received commendations in the same category, whilst final year Surface Design student Rose Street-Simmons was commended in the ‘Bradford College Textile Archive Award’ for the design of a furnishing fabric inspired by the Bradford College Textile Archive.


Nicola Redmore — Course Leader — Textiles with Surface Design BA/BSC(Hons)

Contents Students


Project Title: The Building of Cloth

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Charlotte Wibberley — ­ E:

Charlotte Wibberley Architecture, structure and craftsmanship are the main influences for this project. I have focussed on looking into structures, textures, shapes and line markings, within architectural imagery, to produce a contemporary menswear collection. Having an interest and passion for mark making, my work communicates a link to drawings. The process from initial research to taking a strand of yarn to produce fabric

is what keeps my project moving. I have produced a collection for men’s shirting and suiting cloth that explores a contrast in weight and textures using simple structures. I wanted to celebrate the importance of heritage, craftmanship and highlighting products ‘made in Britain’, these were the key factors driving my project.




Project Title: Untitled

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Eileen Slatter black coloured wave shapes; I investigated these shapes with simple but meaningful representations through hand and machine embroidery. Each design is a metaphor for part of the story of my experience with dyslexia.

Eileen Slatter — E:

One of the very first things we do when we are born is to make noises; we use our mouths for a lot of things and also to make the simple articulation of sounds and shapes. Pronouncing the alphabet through an auto editing software creates


Contents Students


Project Title: Spontaneity

Hannah Coulson — E: W:

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Hannah Coulson


Keywords: eccentric, organic, bold, experimental, feminine, contemporary

Olivia Chapman E:



Project Title: Controlled Manipulation

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Olivia Chapman


Keywords: repetition, manipulation, form, line, exploration, structure


Mark Choi


Project Title: Interactive Sculpture

Mark Choi — E: W:

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Keywords: illusion, illustrated, interactive, smart, futuristic, folding

Hermione Middleton — E: W:


Hermione Middleton


Project Title: Skin

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Keywords: textured, embroidered, exploratory, materiality, hand-knitted, natural fibers

Emily Turney — E:

Students Contents


Project Title: Mill Ideas

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Emily Turney


Keywords: quality, natural, craftsmanship, responsive, process, material


Sarah Everington

Project Title: Natures Balance

Sarah Everington — E: W:

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Keywords: sustainable, natural, environmental, organic, texture

Jessica Firth - E: W:


I have been questioning the use of light and shadow in the home; can light and shadow be developed and used as a decorative element within design?

I have developed a range of textile tiles that interact with light, each individual tile combines different materials and examines the different qualities of light. My work focuses on recording light, shadow and reflection in different methods. 82

Project Title: Manipulating Shadows

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Jessica Firth


Keywords: light, shadow, reflection, illumination, radiance, texture

Laura White — E: W:


Laura White Stemming from an ongoing infatuation with the mechanics of photography, I explore how the lens captures its subject differently from the way we see it. I am also intrigued by the reveal of the imagery, particularly when film is developed, and the photo slowly emerges.

Project Title: Exposed Memories

Inspired by the notion of memories, I explore how they can be captured with the click of a shutter, yet the mind recollects a blurred distorted projection.

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“The Flower Orb is one piece of the Crown Jewels of the Urban Nomads. Used for ceremonial purposes when greeting the leaders of the lands they pass through in order to ask for safe passage and permission to scavenge.�


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Flower Orb By Peter Jackson

13 Collective

13 Collective 13 collective was founded at the beginning of final year by the textile art students on Textile Crafts, 13 referring to the year in which the collective will graduate. In response to the first module of final year, during which the members would be working together in the new exhibition space, the collective was formed to present a professional and cohesive working ethos. An exhibition series followed which allowed 13 the opportunity

to engage with an audience, build upon professional working practice and work across disciplines. Working together created a supportive community, which continued past this module and continued to inform their practice. 13 collective consists of Becki Carlin, Charlotte Cullen, Elanor Davies, Katie Davis, Katrina Kendrick, Jessie Kopka, Emma McMinn and Rose Pashby.


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E: W:

To reflect on the impact 13 has had on each of the artists during the year, the collective discussed the following questions… 1. How has working in the gallery space helped your work develop? [JK] Whilst realising work for my joint exhibition with Katie Davis – ‘Overcoming’ I was able to work alongside Katie to negotiate the space and try out different ideas within the space. We were both conscious of the impact of our work on each other’s work. We also had access to technical equipment such as iMacs, projectors, speakers and lighting. The accessibility of the space and equipment has helped me develop the focus of my work. [KD] From working within the gallery space, I have been able to test out ideas for installation there and then. This has then enabled me to spend more time working on the piece itself and adapting my works to communicate my ideas within the space it will be installed. [RP] Having our own gallery space within the university has benefitted us a lot as a collective. It has enabled us to experiment how to display our work for exhibitions, which will be helpful to look back on when it comes to the final degree show. [ED] Having a gallery space available has been a new experience for me, but has been useful as it allowed for easy experimentation with ideas for the presentation of work. It also gave a level of professionalism in images of work, and to the exhibition series. I also found that working within the space encouraged professionalism in my practice.

[CC] Working in the gallery space has greatly developed my practice as I now work to scale, taking more risks and seeing my concepts through to creation. It has allowed me to experiment with and develop the presentation of my work, exploring the installation of work as an important part of my practice. This has greatly improved the presentation and professionalism of my work and working process. [BC] Working in the Gallery space has had a positive effect on the development of my practice. Presenting these different installations in the space has enabled my ideas to develop on from each installation. I find working in the space individually helps a great deal, it’s a positive way of reflecting upon the presentation of your work whether it be installation pieces or visuals. 2. How has working collaboratively been different to how you have worked in the past? [JK] My work was realised through the medium of time based media, so I had to consider how the work would affect Katie’s work, we wanted to create an atmosphere that would engage the audience in both of our works. [KD] I feel working collaboratively has broadened my ideas within my work and given us all more opportunities. This is simply because there are more minds thinking of innovative ideas to put forward towards your own work and the collective as a whole. [ED] Working collaboratively is beneficial to all involved- a group has more ideas than an individual. Working in this way with peers allows these ideas to be


13 Collective

shared in a more informal, yet still very honest environment. A small community was created with the collective, where members support and help each other through the creative process. [CC] Working within a collective of likeminded peers has created a supportive environment of which to work and develop our practice. Sharing ideas informally and helping each other through the creative process has allowed us to grow together as both artists and as a community. [BC] Working collaboratively in the space is a really positive experience, as you are able to compare and contrast one another’s work. You find a lot of similarities with other people’s work that may compliment your own work. 3. What have you gained from this experience? [JK] Working in the gallery space alone has enabled me to push the boundaries of the space and try out lots of different approaches to installation. Working as a collective has helped me organise my time more effectively, the exhibitions have acted as short term deadlines to work towards and then reflect upon, I think this is a necessary part of my practice to be able to reflect and continue to develop the focus of my work. [KD] From working within the collective, I have learnt to work closely with other artists and use our different strengths when putting together a collaborative piece of work. For example, when Jessie Kopka and I put our exhibition, ‘Overcoming’ together we played with light and sound from our individual pieces to create a joint atmosphere within the space.

[RP] Working within a collective is something I would really recommend. Getting together as a group to discuss ideas is a great way to discover more about your own work than you already know. [CC] I have learnt to trust those I am working with and that 2, 3, 4 and more heads can be better than one! Collective working can be very rewarding as you have both a support network and a focus group to back you up. Presenting to an audience has made me more reflective in my practice and has developed my professionalism. Being part of founding 13 Collective and working within a collective has positively informed my practice. Created so we could engage in a professional and active exhibition program the experience has helped me engage with my concept and push my working methods. [BC] Working in the gallery space really encourages me to try out different ideas and installations. Being able to reflect upon each installation really helps your work move forward. The feedback you receive from the audience has a positive effect on how you might then go about developing your ideas and next installation piece. 4. How has engagement with an audience informed your practice? [JK] I am always interested to see how the audience responds to my work. Before I present work I always try to imagine how people would react to different ideas, but it is only when it is exhibited to the public that I can truly gauge realistic feedback and move forward. [KD] As you are so involved with a subject, it is interesting to see how an audience detached from the works react towards


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it. This in turn affects your practice by re-visiting your works and re-evaluating whether or not it communicates the ideas in which you intended it to. [RP] I always enjoy standing back and seeing how viewers get involved and interact with my work. I like to make an impact when exhibiting so I always document the reaction of the audience and feed it back into my practice. [ED] Having work on public view has been a very new experience for me. Within the course there is a level of safety, the knowledge that work will be understood, appreciated and accepted. Presenting work to ‘outsiders’ is entirely different, but did allow a viewpoint otherwise not gained. Art has a meaning, known fully to the maker, but which may or may not be successfully communicated. The exhibition series gave an idea of how work would be received and understood outside of the university context. [CC] Working within university is great but it can sometimes be like working in a bubble, knowing you will present to an audience of people who don’t know your work can be intimidating at first but it has made me more reflective and therefore more aware of my intentions and pushed me to work harder to present finalised pieces of work, even if it is in the early stages. I now have a more reflective working method and engagement with the audience and their feedback is an important part of my working process. 5. Where do you see the future of the collective? [JK] I hope that the collective can continue to work towards another series

of exhibitions leading up to the final degree show, I think this will be a strong motivation for all of us to realise a considered output for the show. I think it would be good to expand and try and have exhibitions outside of the university campus because this will give us an insight into the accessibility of different venues and locations that we might consider exhibiting our work, after we graduate as well. [KD] I am excited as to the future of 13 Collective as we are currently discussing upcoming exhibition locations and dates. I feel it is valuable to try out ideas instead of just talking about them, which I hope as a Collective we will continue to do [ED] I have enjoyed being a part of this community of artists and the positive experiences we have shared. I hope that we continue to work together and build on our success after graduation. [BC] Continuing these exhibitions in different settings will be really interesting for us all as artists. It will be a great opportunity for us to present our work in these different settings other than the university. [CC] As we develop our personal practice and prepare for life after University the collective remains a supportive and nurturing environment in which to discuss and develop our work. This is an exciting time for us as we have been making plans to engage with wider audiences outside of the University gallery, presenting work in various settings that will hopefully continue the professional rigour we have begun to develop.


Emma McMinn —E:


My work focuses on the idea that community cannot be outlined on a map, rather it is built, and it can be dispersed again. In Northern Ireland today, neighbourhoods are separated by walls, literal barriers which divide neighbour from neighbour, walls one learns not to

Project Title: Politicising Linen

cross. Decades, perhaps centuries, of extreme loyalties and wounded pride have created a society of many barriers, many walls. The real struggle now is to develop a truly shared society in which the communities are interwoven in every conceivable way, institutionally, socially,


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Emma McMinn

psychologically and in which we begin to speak the language of a common good. The field of transitional justice operates in the fragile space between unhealed wounds and the hopes and desires for a better future. The challenge of honouring both ends of this spectrum is enormous.

My work outlines the historical context of the material culture of linen in Ulster and re-examines through drawings, inconceivable ways for me to reconstruct, in relation to develop alternative narratives of the peace process in Northern Ireland.


Charlotte Nash — E: W:


Charlotte Nash


Project Title: Reflective Conclusion

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Keywords: pattern, colour, geometric, design, interiors, braiding

Claire Montgomery —



Project Title: Translucent Filaments

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Claire Montgomery


Keywords: transparent, laser cut, botanical, pearlescent, knitted filaments

Laura Dobson — E: W:


Laura Dobson


Project Title: Imperfection - Redefining Flawed

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Keywords: worn, distressed, vintage

Heather Irwin — E:



Project Title: Crafted Imagination

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Heather Irwin


Keywords: narrative, detail, surprise, interactivity, playful, quirky


Kerry Cantwell


Project Title: Back to the Future

Kerry Cantwell — E:

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Keywords: colour, contrast, pattern, reflective, thought provoking

Deborah Scott — E:

Students Contents

Deborah Scott ‘Emotional Sanctuary’ is inspired by people who eat, work, sleep and live all within one city. People do not want to lose a connection with nature and are constantly trying to find ways around this.

The aim is to have ‘lavish indoor garden rooms’ across the globe. Where people can regularly retreat to in order to obtain a break. Whilst sitting in these rooms people will feel revitalised and ready to carry on the day with a fresh feeling mind and body.


Project Title: Emotional Sanctuary

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Michelle McCrory


Project Title: Nature Patterns

Michelle McCrory E:

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Keywords: natural, subtle, experimental, sculptural, design, textural

Laura Carter - E: W:


Laura Carter

Project Title: Stretch Architecture

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Keywords: repetition, stretch, geometric, large scale, urban, installation


Toni Sturrs — E:

Toni Sturrs


Project Title: Reviving Knit

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Keywords: hand knit, nostalgia, versatility, design, modern, instructional


“Foliage Shard is a tool designed to cut cloth and leather, the pine needles protect and conceal the blade. The Red Leaf is a tool for applying antiseptic or lotions to a wound.�


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Foliage Shard and Red Leaf Brush By Rhiannon Gregory

Clair Sweeney and Melissa Holroyd

Jenny Lee, Melissa Holroyd and Stephen Calcutt

Rowan Bailey, Claire Barber and Nicola Perren

Watch This Space

Lee Mills Archive

Future Materials

Embroidery Archive


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In collaboration with the Lee Mills Archive, Holmfirth, staff have produced a lecture programme and professional practice project with the aim of inspiring Textile Craft students to expand their experiences of archival research from practitioner perspectives. Lee Mills is made up of a collection of knitted and crocheted items, materials, tools, samples, pattern leaflets

and booklets, with some items dating back to before 1900. Through engagement with the collection, Textile Craft students were encouraged to expand their thinking and making by encountering materials in the archive itself. This project will continue into the next academic year and it is hoped will attract more students to the treasures in the archive.

Future Materials investigates the integration of smart technology into textiles, focussing on the key areas of technology, science, sustainability and design thinking. The integration of smart materials and technology into textiles is a substantial area that is currently driving

innovation within the textiles industry, as such we recognise its importance and aim to deliver a series of inspirational workshops and seminars to enable students to engage with these materials within a creative environment.

Our aim is to create a Working Embroidery Archive, which could be used for cross course teaching purposes within the textiles department. We hope to produce a series of machine and hand embroidered samples, which demonstrate best practice and utilises the department’s equipment to its full potential. The design inspiration source for the samples will be the Lee Mills Knitting and Crochet Guild Archive. We also intend to generate a website which

will digitally catalogue the collection and include a database of industry contacts for pricing, materials and embellishments; enabling student/industry and public access. We intend to set up a studio simulating the Industry studio environment, which will include an interchanging live wall documenting development of ideas/ research/drawing/reference material on a weekly basis.



Textile Manufacturer

Bates Mill Photographic Studios

Unleashing Your Creativity Since 1948


Photographer for Sample Vol. 13


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We would like to extend our sincere thanks and appreciation to all our sponsors and external collaborators for their financial assistance, support and endorsement. Our thanks to Stephen Calcutt and Will Smith for his technical support and mentoring through the design process and also to the following for their contributions during proof reading: Hannah Stephens and Linda Whiteley. Special thanks to Nigel Bates, Bates Mill, for providing the location for the photoshoot and to Plumen for the donation of their light bulbs to aid Charlotte Nash in her photoshoot.


Publishing Details

With thanks to our Patrons Anne Parry

Katrine, Daniel and Sonia Lewis

Fred Dellar

Mr and Mrs A Montgomery

Jessica and Alicia Lewis

Mr V. and Mrs W.Clarkson

Mr James Archibald

Carol Cantwell

Dr Linda Archibald

Scott Longley


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Publisher: The University of Huddersfield

Copyright © 2013 The University of Huddersfield. All rights reserved. The right of all artists, writers and photographers to be identified as the author of their work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. No part

of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means electrical, mechanical or otherwise, without first seeking the written permission of the copyright owners and publishers.

Catalogue Editors: Jenny Lee and Clair Sweeney Photography Student Images © Lindsay Broadley 2013. All rights reserved.

Inspiration Images Jenny Lee

Graphic Design Jake Greenwood Benjamin Bostock For information about exhibitors, sponsorship or projects contact: Clair Sweeney No: 01484 47 2092 @:

Sample 13 Blog: www.sample13huduni.

For information about recruitment contact: No: 01484 473813 / 471382 @: W:

119 Printed By B&D Print Services Ltd Marathon Place, Lancashire, PR26 7QN ISBN: 978-1-86218-114-4 The University of Huddersfield, Queensgate, Huddersfield HD1 3DH Number: 13065

Sample 07 05 13 2  

Graduates 2013

Sample 07 05 13 2  

Graduates 2013