Textile Design Degree Show Catalogue

Degree Show Catalogue 2022 School of Design

BA (Hons) Communication Design BA (Hons) Fashion Design BA (Hons) Interaction Design BA (Hons) Interior Design BA (Hons) Silversmithing and Jewellery Design BA (Hons) Textile Design BEng & MEng (Hons) Product Design Engineering MDes Communication Design

Introduction A warm welcome to the 2022 School of Design degree show.

This is my first year as the Head of Design and I am delighted to have joined the Glasgow School of Art and to be leading a world class school of talented students and inspiring staff.

This year we are delighted to fully return to a public exhibition in the Reid Building for all our graduating students work after a two-year hiatus. We hope you will have the opportunity to experience the work in person and in-situ as you move between rich sensory experiences across our stunning building.

Our school is one of design and making, equally committed to what is an affirmative creative process of production and consideration of all media, objects and artefacts across a range of locations and/or scales. The process of designing, discussing, and making work in our studios engages our senses and is a rich tactile material experience for all our disciplines.

Professor Stephen Bottomley Head of the School of Design

The work is a celebration of each student’s individual achievement, the show a reflection of our creative community.

Sharing these very human and social dimensions of our practices is a great pleasure, especially after a time of social distancing when many of these types of natural engagement were not possible or simply not permissible.

This year, for the first time, the School of Design is creating matching printed handouts for all our departments, that collectively document a snapshot of the class of ’22.

Our parallel on-line digital showcase, each has a page individually curated by our students, that contains further opportunities for exploration into the work of each of our graduate’s portfolios.

I wish all our graduates every success and congratulate them on the culmination of their studies over what have been such recent challenging times for all.

Design History & Theory As part of their degree, all BA Hons School of Design students submit a substantial piece of written work to the Department of Design History and Theory (DH&T) and a synopsis of every one is included in these pages. Students may opt for either a shorter (5,000 word) or longer (10,000 word) submission, the latter being a third of their overall degree submission. In addition to the two lengths, there are three different modes of submission; essay/dissertation; critical journal (exploring the author’s studio practice in a larger critical and cultural context); or curatorial rationale (an in-depth proposal for an exhibition with its subject and venue the choice of the author). All DH&T staff are involved in the supervision of Honours submissions, which is on a one-to-one basis, and it is always a pleasure to guide what is always a wide range of fascinating and challenging projects.

DH&T is independent of studio, with its own external examiner, and upholds a principle of free subject choice. Therefore, while some students write on topics directly concerned with their studio practice, others explore topics that seem to have no bearing on it, often personal interests or socio-cultural issues. This does not mean they are unconnected with studio, however, as the creative process is one of thought and all these submissions are deeply thoughtful, often informing practice in intangible, but significant ways.

Nicholas Oddy Head of Department of Design History & Theory

Finally, congratulations to everyone who has submitted this year. As a group you have generated almost a million words, testament to your commitment to DH&T. On behalf of all in the Department, good luck in whatever the future holds. ↘ ↘ D ↘ ECR ↘ ECJ ↘ EE ↘ CR CJ

Curatorial Rationale Critical Journal Dissertation Extended Curatorial Rationale Extended Critical Journal Extended Essay

Textile Design Final year students in the Department of Fashion and Textiles have made it to the end!

The academic experience of the Class of 2022 has been like no other we have ever known. I wholeheartedly congratulate each graduating student on their extraordinary achievements, for their perseverance and resilience. The way they adapted to unheard of ways of learning and the support-through-adversity they showed each other has been an inspiration.

They have proven that there is nothing they cannot accomplish in the future. When life inevitably confronts them with challenges, I hope they will draw confidence from this very real lived experience.

They’re going to be amazing.

Professor Jimmy Stephen-Cran Head of Department, Fashion and Textiles

“They adapted to unheard of ways of learning”

Abbey Campbell Specialising in woven textiles, my project this year ‘Illusions of Colour’ explores illusions created using contrasting colour combinations and altered structures within woven cloth. Looking at vividly coloured photographs I’ve taken from around Glasgow, I extract the colour palettes and bold shapes to create a wide range of vibrant fabrics. My designs are made for the purpose of interior spaces in mind, creating fabrics that can brighten up a space with playful colours. I have also explored wood as a material this year, designing a range of dining set pieces, such as placemats and coasters. ↘ Textiles in Different Spaces.

This extended essay considers different ways in which fashion and textiles are displayed within exhibitions and installations, and the importance of public interaction with these exhibits. The essay includes research on the topics of exhibition environment/spaces and their importance, interactive exhibitions, digital exhibitions, and online archives. The essay compares the work of fashion and textile exhibits to the display of fine art exhibits and the differences that they hold in terms of appearance and importance within the creative community.

An analysis of the work of Sheelagh Boyce and Annabelle Harty, specifically, their project Arrange Whatever Pieces Come Your Way, 2016, is included in the essay, investigating their traditional process of quilt-making and how they use this to create pieces inspired by architecture, using recycled family clothing. Jessica Hemming’s article, ‘Floppy Cloth: Textile Exhibition Strategies Inside the White Cube’, is referenced in the essay, as an effective means of interpreting imagery and examples of ‘Textile Display’, alongside other significant writings discovered during research for this project.

EE

↘@abbeyelizabeth.design

Adele McCulley I am a Scottish textile designer specialising in woven fabrics. A lover of all things bright, bold, and colourful. For my collection I drew inspiration from the art of light and illusion. My practice combines both digital and physical drawing methods capturing bold shapes and texture found within everyday shadows. Which I have translated through using structure and yarn qualities. My intent was to create a multifunctional series of fabrics that can take any entertainment space from day to night using ultraviolet lighting. As well as making installations that could be used for pop-up events. ↘ The Social and Environment Impact of Fast Fashion and Ways of Resolving These Issues.

This extended essay investigates the social and environmental impact of fast fashion and analyses ways of mitigating its negative consequences. The essay demonstrates how the fashion industry has developed a throwaway culture. The sources chosen in the essay provide insight into the operation of fast fashion, giving a basis for the ensuing discussion. Chapter one examines the making of yarn.

Chapter two investigates the making of the cloth and the garment factories. Chapter three describes the selling process of the garment.

Chapter four analyses the wearing process and the disposal. This essay concludes that the speeding up of fashion is causing detrimental damage to the environment and society.

EE

↘ adelemccully@icloud.com ↘ @adelemcc_textiles

THE GLASGOW SCHOOL OF ART

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Arouge Salim This project has been inspired by atmospheric lighting and geometric forms, interpreted into tactile, interactive textiles using mixed media materials and moving components. Following my interdisciplinary design ethos, textiles have been designed for multiple contexts, including fashion, interiors, and installation. Thread and laser-cut acrylic elements compose the bulk of my technical development, and work in unison to build up shifting gradients of colour. ↘ How the Use of Music and Art Can Improve Our Physical and Mental Well-Being.

This essay investigates why we turn to creative outlooks in times of hardship, and the benefits of engaging in creative activities for our physical and mental well-being. In the first chapter I start by analysing why we as humans are creative and what it scientifically does to us. I investigate experiments on patients that note signals in our brains. I then then move on to discuss the benefits of music therapy in the second chapter, as it is the best way I can measure if using creative methods can have an overall impact on our mental and physical well-being. The essay includes an interview with Peru Eizzaguirre, a musician from the Royal Conservatoire of Scotland, that discusses the impact music had on his mental health, followed by an experiment I put together with his students.

This is followed by a discussion of studies on art therapy, including the techniques and benefits it can have. I have also conducted an interview with Kirsten Brown, an art therapist in who specialises in working with children, providing in-depth research of this practice.

EE

↘ @arouges_textiles

Aya Fetah I am a Weave designer working with a minimalistic style to create a simple luxurious prayer mat that works for everyone. This was designed by producing weave samples with the purpose of being used in interior spaces such as a living room or bedroom. I enjoyed working with classic patterns (e.g., houndstooth) and calming colours to focus on simplicity and minimal living. My inspiration came from my religion ‘Islam’. Islamic calligraphy was incorporated into my work to create sample pieces by using textured/fancy yarns producing a pattern of repeated Arabic text. ↘ This Essay surveys Vogue magazine covers from the US and UK from the beginning of 2010 to 2021. How, when, and who introduced Modest Wear into the magazine? By comparing and contrasting the approach of Editors and Editors-in-Chief of Vogue United Kingdom and United States, the essay explores their editorial lifestyles, attitudes and methods to assess their impact on Vogue’s readership over this period. Some discussion of the fashion industry in more general terms is included, arguing that the business of fashion does not often cater towards Muslim models or plus-sized readers. In particular, the essay considers the word ‘modesty’ and how this is interpreted differently in Muslim, Christian, and Jewish religions, and suggests that the fashion industry has used these varied meanings to exploit religious markets, with clothing that appeals to each religion, alongside selling and marketing of the usual luxury brands. In effect, the essay argues that the fashion media has successfully combined the definition of culture and religion into one.

EE

↘ fetahaya99@gmail.com ↘ @ayafetah_designs

7

BA (HONS) TEXTILE DESIGN

Bethany Pringle This collection of contemporary prints for textiles and materials has been designed for interior and exterior applications. Inspired by form, shape, colour and texture found in brutalist architecture, aspects of concrete surface details and urban environments have been captured through collage, colour work and digital exploration. The collection uses combinations of digital and screen printing, dye sublimation and laser etching. Material exploration has been undertaken onto various substrates including linen, cotton, leather, plywood, cork, paper and ceramic tiles. This has resulted in an exciting collection of alternative surface concepts for interior/exterior products.

EE ↘ Design vs Sustainability- Highlighting key sustainability issues within the Fashion and Textiles industry through insight into my own design practice as well as understanding cultural attitudes towards consumption and sustainability.

In this extended essay, the difficult sustainability issues that pertain to the Fashion and Textiles industries are described. The essay includes five main chapters and two key points of discussion. Initially, the essay investigates the chemistry and characteristics behind textiles including research involving the sustainability of various dyes and print techniques, alongside explanations of what fabrics are the most ecofriendly and ethical, and why. Next, I investigate the aesthetics of design and consumerism. This will consist of looking at colour and design, through analysing our buying habits, fashion cultures and trends.

↘ bethanypringle.textiles@gmail.com ↘ @bethanypringle_textiles

Catherine Tinney Influenced by design history studies, I’ve been researching relationships between clothing, identity, and language, and wanted to continue this exploration visually. I held conversations with three Glasgow-based Gaelic speakers who shared their favourite clothes, items, photos, and discussed what they mean to them personally. Conversations brought up recurring themes, and chosen items represented connections to memory, community, and language away from home. Using shapes and colours drawn from landscapes, photos, objects, and clothing provided by each of the participants, I’ve created prints intended to be unique and individual to the wearer, communicating their own story in a visual textile format.

EE ↘ An Exploration of the Role of Highland Dress and Tartan in Gaelic Identity.

The purpose of this extended essay is to explore and evaluate the importance of tartan and Highland dress in Gaelic identity. The essay consists of four chapters. The first looks at Highland dress before the battle of Culloden in 1746, analysing references to dress in Gaelic praise poetry and the emergence of the ‘Highland warrior’ image. The second chapter analyses Gaelic poetry in response to the Disarming Act of 1746. The third chapter presents the popularisation of tartan amongst the elite and monarchy in the 19th century, particularly in military contexts, in contrast to the later use of tartan as a symbol of rebellion and language revival. The final chapter presents conversations on clothing and identity, conducted with four Gaelic speakers in their 20s.

↘ catherinertinney@gmail.com ↘ @cattinneydesign

THE GLASGOW SCHOOL OF ART

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Elise Prentice In the years since my father passed away, I have felt an increasing urge to revisit old memories and an intense yet unachievable desire to cherish our time together. This project revolves around family nostalgia and the pursuit of capturing an irrecoverable moment by creating something tangible from it, using analogue techniques and secondhand fabrics to create textiles that are both nostalgic and sustainable.

My stitched drawings explore familial joy, homely spaces and nineties and early-noughties fabrics through form, line and pattern to create soft home furnishings of quilts and wall-hangings that can also be viewed as one-off textile pieces. ↘ An investigation of textile-based political statements through a feminist lens.

This dissertation investigates the application of textiles in political and particularly feminist protests throughout history. The chapters in this paper initially work chronologically to explore historical feminist textiles, before turning to focus more on contemporary needlework and fashion. The dissertation continuously investigates the effectiveness of various textile pieces and the aims and purposes of both their creation and their display to attempt to place them within a broader context of protest itself and textile art as a whole. The final chapter and conclusion aim to solidify the status of protest textiles in current events and predict what the application of fiber art may look like for feminist campaigners in the future.

D

↘ elisepprentice@gmail.com ↘ @eliseprntice

Emily Dickson Reading ‘Fractals’; patterns we observe in both art and nature, leads an exploration into where landscapes follow perfect regularity, yet celebrate beauty in its imperfections. My final collection of work has taken inspiration from the layering system of outdoor clothing alongside the scales and shapes of textures and colours we touch while travelling through the landscape. Translating these qualities into a men’s fashion collection I have focused on using different yarn types, gauges and finishes to create contrast and texture yet balancing subtlety. ↘ To what extent can the Scottish woollen industry contribute towards a more sustainable circular economy?

This extended essay investigates the ways in which the Scottish woollen industry, both in the past and present, acts as a positive example of a localised, sustainable circular economy, predominantly focusing on social equity. The first chapter defines key terms used in the essay, such as: circular economy, sustainable development and sustainability, using the United Nations definition of this, and research taken from Murray, Skene, and Haynes, The Circular Economy: An Interdisciplinary Exploration of the Concept and Application in a Global Context. The second chapter investigates past examples of local circular economies within Scotland centred around manufacturing. The final chapter refers to research published by Zero Waste Scotland and the Ellen McArthur Foundation to propose what initiatives are needed for the future to produce successful circular economies in the country, specifically using three current case studies of manufacturing in Scotland; New Lanark Spinning Company, Jamieson & Smith & Harris Tweed.

EE

9

BA (HONS) TEXTILE DESIGN

Emma Campbell Slowing down and embracing curiosity, my work explores the inconspicuous and eclectic beauty hidden in everyday environments.

Inspired by the juxtaposing surfaces found in my photography of such places, materiality and tactility became inherent to my process, experimenting with the density and structural nature of leather to the transparent lightness of beads, deconstructed jewellery, and sheer smocked surfaces. My collection is a treasure trove of movement, touch, material, and colour, intended to embellish the body. Considering responsible design, I’ve made a conscious effort to source materials second-hand, hoping to instil value and desirability into items that would normally go unnoticed. ↘ Slow Space.

There lies true beauty within the process of making - a sense of being alive through doing. A connection between our hands and minds is established, guiding us to new ideas and knowledge which stem from the practice of crafting. Embedded in this idea is a ‘slow approach’ to making; influenced partly by the ideas of the Arts and Crafts Movement in the nineteenth century. This critical journal explores concepts of making through studio practice as a final-year embroidery student, challenging some traditional narratives of that craft. Reference is made throughout to designers using such methods and techniques, and those working with similar conceptual aims, to provide critical perspectives of my work and reinforce the pleasure and skill of making and doing.

CJ

↘ studioemmie@outlook.com ↘ @ecampbelldesign

Flora Bruce-Gardyne I’m a textile designer specialising in knit, with particular interest in the use of colour and how knit can be applied within sports & highperformance wear. My final year project has various strands of interest; initially led by material exploration linked to parachutes. This was further developed through sampling where I looked to recreate their billowy and light appearances. Another major strand was the use of ‘waste’ & found objects to develop colour and shape placement within my samples. To bring these two concepts together my final samples consist of layers of bonded knit exploring colour, shape and structure. ↘ “Material Waste” - An Exploration into Methods of Repurposing and Reducing Waste within the Textile and Fashion Industry.

This curatorial rationale proposes an exhibition: “Material Waste” to explore how repurposing can make design more sustainable. The exhibition opens with a display that highlights the scale of the global waste problem, specifically in relation to textiles. It then leads the audience through a variety of work by designers who are using waste as their main source material in a number of imaginative ways. It will seek to show how products can be more easily and efficiently repurposed if the concept of repurposing is embedded in the design process right from the start. The exhibition concludes by looking at some of the new technologies available and how these can be applied to the design process to make garments more sustainable. Finally, the curatorial rationale explains the impact this exhibition might have on both designers and consumers, and asks whether it could succeed in helping to change attitudes about waste as a source material.

CR

↘ brucegardyne.flora@gmail.com ↘ @gb_f__

THE GLASGOW SCHOOL OF ART

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Florence Pollen This collection has come through an interest in passed places. Taking visual inspiration from ruined and decrepit sites. A fascination with the narratives and history of these sites fuelled an interest in fabric for a costume. For my graduate collection, places and costumes come together to provide visual research that led me to explore fabric for performance, with clean colour palettes and structured yet flexible knitted fabrics through the pairing of unconventional yarns and manipulation techniques. ↘ A Comparative Analysis of the Significance of Costume in Folk Horror Films: The Wicker Man, The Blood on Satan’s Claw, and Midsommar.

This Dissertation discusses the costumes in the Folk Horror films: The Blood on Satan’s Claw (1971) by Piers Haggard, The Wicker Man (1973)

by Robin Hardy, and Midsommar (2019) by Ari Aster. It is written in the form of linear trajectory, with Adam Scovell’s folk horror Chain as a structure. The dissertation introduces the intrinsic ties of the landscape with plot and character, closely analysing the dialogue created between the costumes and the landscape. It then explores themes of identity, community, and isolation, found through a remoteness created by the landscape and considers the ways traditional materiality and dress successfully reflect them. Through isolation, skewed beliefs are born, the lines blurred between insanity and idealised pleasures, predominantly translated through overtly sexualised leading females’ costumes. Through the development of this skewed thought, we reach the finale of each film’s narrative - a happening or summoning. The dissertation then breaks down the role of ceremonial dress as a transportive device into a supernatural reality. It concludes on the critical relevance and impact of costume to Folk Horror and its role in creating depictions of unsettling alternative characters, narratives, and societies.

D

Freya Walsh Inspired by the ephemeral nature of floras and the shadows they cast, my graduate collection explores how multiflorous forms can distorted, in turn taking on new appearances. Handcrafted techniques are complimented by digital processes, layering considered colour with subtle textures and diaphanous forms. Delicate designs are juxtaposed with tactile layers, creating intricate three-dimensional effects. Designed for a gender-neutral fashion context, the collection reconsiders floral and traditionally feminine aesthetics, exploring the fleeting delicacy of nature in a contemporary environment. ↘ The Kimono in the West: Fashioning Feminism.

This Extended Essay aims to investigate the kimono as a central catalyst to female emancipation in the West between 1890 and 1920, and the motive behind it. The essay compromises four main chapters.

The first chapter provides historical context to the origins of the kimono and the reception of material goods in the West. The second chapter examines how the kimono was first adopted into Western fashion and to what effect in the 1890s, using theory presented in Orientalism by Edward Saïd in a Japanese context. The third chapter discusses the central role the theatre played in the popularisation of feminist ideas and kimono inspired dress with reference to ideas given in Christopher Breward’s Ambiguous Role Models: Fashion, Modernity, and the Victorian Actress. The final chapter uses gender theory offered by Valerie Steele in Fashion and Eroticism to understand how fashion was used to create an attractive marketable image of feminism that helped popularise female emancipation.

EE

↘ freyacelestewalsh.com ↘ freya.walsh@gmail.com ↘ @freyacwdesign

11

BA (HONS) TEXTILE DESIGN

Holley Sweet I specialise in woven textiles, that are primarily driven by colour and texture. I find inspiration in all things around me and for this project I directed my focus on weaving fabrics that generate feelings of comfort and happiness when touching, handling and wearing. This concept was inspired by feelings of touch starvation due to Covid 19 restrictions over the past few years. My process allows me to experiment with different combinations and textured yarns to create engaging materials that are interactive and highly tactile. ↘ Physical Touch.

This extended essay explores the ongoing “Touch Starvation” worldwide phenomena, prominent throughout the Covid-19 pandemic, that resulted in a detrimental impact on our mental and physical health.

The essay describes alternatives to physical touch, to consider the possibilities for a germ-cautious future. For example, weighted blankets have been compared to a physical hug in some circumstances, and bizarrely, the ‘Squeeze Machine’ of 1965, built by Temple Grandin and then later in a more contemporary sense by Lucy Mcrae, as the ‘Compression Carpet,’ in 2019, are similarly described. Their inventions are designed to produce deep pressure therapy by physically squeezing the person in order to substitute intimacy. Finally, the essay explains advancements into smart fabric technologies, and how the company Cute Circuit has created a shirt that can send and receive haptic sensors that mimic a hug sensation on the body of the wearer.

For this alternative to physical touch, the essay describes experiments conducted in the 1960s by Harry Harlow, a well know behavioral psychologist. Harlow studied rhesus monkeys in order to carry out research and get a better understanding of human behaviours.

EE

↘@holleytextiles

Honor Anderson My work focuses on a series of objects found through metal detection by a man named Jim. The textiles reflect how the environment has affected these objects while considering the impact humans have on the environment. I created designs using solely using scrap fabrics, remnants, and second-hand clothing. Using natural dyes, experimenting with the impact of rust-staining on materials and digital printing techniques. The pieces are designed to hang, alongside Jim’s objects, in a gallery-based context. Viewing the gallery as a map, pieces would be placed in relation to where they were discovered, allowing the viewer to discover them, too. ↘ Digital Fashion: The Coalescence of Physical and Digital Identity.

This extended essay explores whether digital fashion is a symbol for the fusion of the physical self and the digital self and what technology could mean for the future of humankind and human relationships. The first chapter explores the generational shift in relationships with technology and how individuals interact with it, citing Michikyan and Suárez-Orozco’s Adolescent media and social media use. The second chapter considers and discusses the complications that could potentially arise because of this shift in the way individuals interact with technology. Berryman, Ferguson and Negy, Social Media Use and Mental Health among Young Adults and Caroline Miller’s Does Social Media Cause. How individuals present on social media, and the potential effects on their mental health is also considered. The third chapter highlights the COVID-19 pandemic and the accelerated shift in interaction with technology, merging online and offline identities. The final chapter asks what might digital fashion contribute now and in the future?

EE

↘ honoranderson.cargo.site ↘ anderson.e.honor@gmail.com ↘ @ae.honor

THE GLASGOW SCHOOL OF ART

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Jordan Orr I am a textile designer specialising in weave. The theme surrounding this project is focused on taking inspiration from my runs through my local countryside/farmland area. Through this I have discovered many interesting textures, shapes and colours from old, abandoned tractors and other industrial machinery that I have found interesting. Key words: Speckled, rusty, textures, colourful. I focussed on the textures and colours from primary research. I used textured yarns to create these samples ranging from wools, cashmere, cottons, recycled plastic yarns, twisted shiny yarns and merino sport. ↘ The Future of Running Shoes: Vaporfly Next % 2 and Other Enhancements.

This essay describes how the Design of the Vaporfly Next % 2 racing shoe impacts performance enhancement and what implications this has on the future of the sport. I have a real passion for this subject as a keen runner and textiles student. It is key to get the best out of a running shoe through the right materials, although there must be a balance as these shoes are now giving people an unfair advantage.

How far do we need to go before it damages our sport, having these shoes and caffeinated stimulants? The essay includes a brief history of running shoe performance. Overall, the essay asks: which shoes could impact the future of design and how might this happen? I evaluate and make suggestions on whether or not these shoes should be banned in competitions. Some regulations have already been changed due to sporting ‘doping incidents’ such as the use of caffeine stimulants that have huge side effects on our health. How can we accommodate fair advantages in sport if some people are assisted with these shoes and caffeine gums, for example?

EE

↘ jgiffnocknorth@gmail.com ↘ @jrdntextiles

Lucie Peslova My project explores the theme of trauma and mindfulness as a way forward from creative anxiety where the emphasis is placed on the process of making as a restorative practice and material exploration.

Repurposing discarded materials and end of yarns, and using traditional craft methods, the designs reveal themselves through repetition where simple colour combinations, dominated by availability of materials, accentuate the geometric structure and pattern. In piecing segments together I explore resemblance to the healing process, where a new structure is being formed while the fragility and signs of trauma remain visible within. ↘ In this critical journal I reflect on and explore my textile design practice as it has developed over the course of the past two years. I consider it alongside other contemporary artists and designers whose work has been relevant, as well as alongside academic theory. The journal is split into four chapters that relate to themes that surround my practice. In the first chapter I explore the theme of trauma and mindfulness as a way forward from creative anxiety and symptoms of complex post-traumatic stress disorder, and how this has been part of my journey as a creative practitioner. In the second chapter I discuss sustainability, upcycling and other approaches to environmental issues. In the third chapter I reflect on the aesthetic element of my work discussing sculptural knitted textiles. Finally, I consider possible future directions of my practice.

CJ

↘ luciepeslova@gmail.com ↘ @laurea_design_studio

13

BA (HONS) TEXTILE DESIGN

Marcus Carr This project takes inspiration from photographic qualities, looking at different image capturing styles, lighting techniques and use of colour for inspiration. Primary research has been captured from street textures, architectural structures and gallery visits which feature these similar properties.Working with technical fabrics has been my primary focus throughout my design development stage, seeking to produce textiles suitable for hard-wearing, weatherproof streetwear. I have chosen which print processes to work with accordingly, using bonding, vinyl, foils, laminates and dye sublimation. ↘ The Intervention of Digital Technology Within Contemporary Fashion Presentations.

This extended essay outlines the atmospherics and visual elements demonstrated in both current day and historical examples of fashion shows. The essay investigates how these have been reconsidered or reinforced with the aid of digital technology. The purpose of the essay is to explore exciting and innovative possibilities presented by digital technologies, artificial intelligence and virtual reality. The aim is to propose ways in which fashion shows can evolve to incorporate such technologies, and create inclusive and contemporary alternatives to the traditional format of fashion shows that tend to be hierarchical, exclusive and exclusionary. Imagining new forms of fashion shows and presentations within the fields of digital, AI and VR, might lead to endless, incredible, and creative possibilities, as this essay explains.

EE

↘ marcusacarr@outlook.com ↘ @marcuscarrdesign

Millie Collins Textiles offer a sense of place – they live lives and tell stories. Exploring the movement of materials – the way they migrate, adapt and reflect their surroundings – my work embodies textiles’ capacity to ground.

Using meditative and tactile embroidery techniques, I investigate how a textile can hold you within a place, relating to the senses and engaging with the body’s emotional states. Concerned with material histories, this collection is comprised of textile fragments. I have adopted forgotten, found and donated fabrics to instil new narratives within cloth and create pieces that shift with the environments they are placed within. ↘ Resettling Textiles: Fragmenting Forms and Material Movement.

Resettling Textiles is a material-based exhibition featuring textile pieces that follow the fragmentation and migratory movement of materials whilst offering new insights into their historical narratives. Housed at a once functioning mill, textile pieces from nine different origins are curated together in a visual and tactile conversation. The artworks share the common thread of capturing place through process. They each offering a narrative that extends beyond the functionalities of cloth.

Resettling Textiles encourages a return to and recognition of material journeys. Existing artworks, which place materiality and storytelling at their centre, are exhibited alongside objects, artefacts and interactive processes connecting the viewer to the intricate lives of materials.

Giving materials a context in which their journeys can be understood provides a path into empathetic understanding of the systems textiles operate within. Textiles are so often in use – the exhibition gives material works space to rest in observation. The exhibition draws parallels between textiles and the body. From the physical capacities of crossing borders to deep emotive connections.

ECR

↘ milliekcollins@gmail.com ↘ @mil.kc

THE GLASGOW SCHOOL OF ART

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Paul Williams I am a textile designer combining traditional and experimental knitting techniques to create bold, fun and tactile knitted textiles for both fashion and interiors. My work is influenced by unconventional sources of inspiration which I use to develop an overarching theme to guide my work, with this year focusing on a sense of play and childhood nostalgia.

I enjoy exploring and adapting different approaches to my design process to inform the development of my work, which is then translated into knitted structures to produce interesting and unique textiles that challenge the traditional notions of knitted fabrics. ↘ Does transmedia storytelling theory influence the creative practice in the development of the narrative world in Kenzo’s fashion film, The Everything?

This essay analyses the influence of transmedia storytelling theory in the creative development of Kenzo’s Autumn/Winter 2018 fashion collection and the launch of the campaign fashion film, The Everything, alongside its advertising and runway show. The research for this essay explores this creative project, and asks if the film and wider campaign created a narrative world for the brand that reflected its brand identity and values through its use of intertextuality?

EE

↘ pw_27@hotmail.co.uk ↘ @textiles_by_p

Roseanna Dyke I am a surface pattern designer with a versatile skill set, merging hand painting and illustration with digital design to create dynamic, trendfocused prints. My collection ‘Configure’ takes inspiration from the unity of organic texture and shape from the landscape of my hometown in the Scottish Highlands, combined with lively colour and architectural compositions within the Glasgow cityscape. The collection explores configurations of shape and colour through a range of design and print processes. Playful, large-scale designs for wallpaper, wall hangings and soft furnishings are paired with coordinating repeat prints for interior and lifestyle products. ↘ Predicting the Future of Trend Prediction: An Exploration into the Evolution, Digitisation, and Environmental Responsibility of the Trend Forecasting Industry.

This essay discusses the past, present, and future of trend prediction in the fashion industry, analysing how trend forecasting has evolved through digitisation, examining the environmental responsibility of trend forecasting agencies, and looking to the future of trend forecasting.

Part one establishes the evolution of this activity historically, from trend reporting to trend forecasting, investigating IM International and the introduction of Pantone systems to illustrate the subsequent globalisation and professionalisation of the industry. Part two explores the digitisation of trend forecasting, focusing on leading online agency WGSN, comparing key agencies, publications, and trade shows, considering their environmental responsibility in advocating for sustainable practices in the fashion industry. The conclusion ties together this research, anticipating the direction of the trend forecasting industry in terms of digitisation, tactility, and sustainability.

EE

↘ rosannadyke@gmail.com ↘ @rosanna.print

15

BA (HONS) TEXTILE DESIGN

Rosie MacDougall My collection focuses on translating the asymmetric and irregular qualities of shells into knitted textiles. I am particularly interested in exploring unusual ways of manipulating and linking knitted fabric, and visualising my ideas in a fashion context has dictated the development of many of my samples. With sustainability and quality in mind, my collection is knitted from natural fibres such as viscose, cotton and wool. ↘ Peter Greenaway: The Beautiful and the Grotesque.

By analysing the visual image in British director Peter Greenaway’s films, and how this communicates a message, it can be seen that his work often requires some work on behalf of the audience to appreciate and understand his films. Films are often recognised as separate from other art forms because of their commerciality and accessibility to the masses, who Greenaway says are “visually illiterate” so it is often the case that films like his are dismissed because they lack universal appeal. In this essay, I show the value in taking the time to analyse and engage with a film as one would with a painting, using some of Greenaway’s films as examples. I concentrate mostly on his films The Cook, the Thief, His Wife and Her Lover (1989) and The Pillow Book (1996), and discuss sources relating to the visual aspects of his films and those which detail themes relevant to Greenaway’s work. To gain a stronger understanding of Greenaway’s own ideas and intentions within his work, I also reference an interview with the director in the book Being Naked, Playing Dead by Alan Woods.

EE

↘ rmacd10@gmail.com ↘ @rosie_macdougall

Ruby-Rose McGann I have utilised digital, domestic and hand embroidery techniques to produce a colourful, textural, and kitsch embroidered textile collection, sourcing a range of materials responsibly, including vinyl, satin, and canvas. My collection explores text, pattern, colour and texture, my embroidered, manipulated, and beaded outcomes are an encapsulation of the kitsch nature of the seaside holiday, evoking tongue in cheek nostalgia through bright and bold designs. My project is an exploration of place and place symbolism. The working-class seaside is memorialised as a portable ‘story cloth’ rather than left behind at the destination, much like a souvenir. ↘ Stitched Storytelling: Personal, cultural, and social experience as a vehicle for textile narrative.

Stitched Storytelling is an exploration of embroidered textiles as tools to communicate personal and collective narrative voice. As an investigation of personal, cultural, and social experience, embroidered objects, relevant academia and portfolio work, this Critical Journal analyses the effectiveness of textiles as instruments for storytelling in both a contemporary and historic context and, therefore, the authenticity of my own practice. The journal explores how embroidered textiles have been used to communicate and historically to tell stories.

By looking into emblematic traditional hand technique, contemporary embroidery practice and symbolic methods used by artists, the essay explores different ways to sew meaning into cloth, instilling microcosmic consciousness into modern society. Textile design transcends the function of dressing us and our homes; This powerful propensity for storytelling historically and presently, disseminates critical personal and collective societal narratives, as explored in this Critical Journal. By reflecting on my own practice, I demonstrate how the textiles around us function as objects that tell our stories.

CJ

↘@rubyrose.design

THE GLASGOW SCHOOL OF ART

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Sandra McWilliams I am a Glasgow-based designer specialising in weaving, working across traditional and electronic equipment with a keen interest in texture and colour. My projects this year have focused on being as sustainable as possible, and to this end, I have sourced materials from my projects from manufacturers and made use of otherwise discarded run ends of manufacturing yarns and carpet waste. I have visualised my designs in high-end ladies’ fashion, with the manipulated felt weaving reutilised for its sound-absorbing qualities. ↘ The Rights of Weavers: A comparison between New Lanark Mechanised Mill and The Calton Weavers Cottage Industry.

This extended essay investigates the legacy of David Dale’s and Robert Owen’s New Lanark experiment on workers’ lives by comparing the industrialised factory at New Lanark Mill with the cottage weavers in the burgh of Calton in Glasgow in the Georgian and early Victorian age. The essay comprises three chapters that examine the cultural conditions of each of these textile productions. The first considers the role of David Dale and Robert Owen in establishing a model village and Mill at New Lanark, as an experiment in enlightenment ‘improvement’.

The second chapter centres on the working conditions in the cottage weaving industry in the burgh of Calton, in the East end of Glasgow, a traditionally poor and deprived area of the city. In the final chapter, a comparison of these two distinctive workforces is made, suggesting how each form of industrial production was overseen, regulated and monitored by individual employers; Dale and Owen who are historically considered as benevolent contrasting with the foremen overseeing production in an urban context.

EE

↘ sandra.design.weave@gmail.com ↘ @s.mcwilliamstextiles

Sarah Rhodes Within this collection, the relationship between colour and emotion is explored through themes of shape, texture, and organised placements.

Through a collaboration of both traditional and CAD technical processes, this collection accumulates in both paper-based and fabricbased prints. With no discrimination on age or gender, this series is proposed as a fun and versatile lifestyle collection, with emphasis on wallpapers, gift wrap and casual androgynous clothing. Intended on inspiring joy and play, by uplifting and engaging the consumer through colour and shape, a conscious effort is made to provide consideration and responsibility for contributing to the improvement of mental health and wellbeing.

D ↘ Exploring Contemporary Artistic Representations of the Feminine through the lens of Inter-Sectional Feminism, using Venus as a compass.

This dissertation navigates a modern Venus seeking to understand the iconic figure’s effect on twenty-first century inclusive feminism.

It situates itself amongst the rise of exploratory twenty-first-century feminist findings and puts forward the suggestion of the successes and fails the mythos of Venus can perpetuate when discussing feminist themes within an artistic context. It begins by introducing a visual language used to communicate a Venus succinct to Botticelli’s, considering the manipulation of the Venus trope to fit a representation of the modern woman. It then explores visual semantics further in various representations of a sexualised Venus and through the lens of Laura Mulvey’s male and female gaze. It explores Judith Butler’s theory of gender performance when challenging gender norms to present an inclusive and diverse representation of intersectional femininity.

Supported by theories developed by David Hume, Laura Mulvey, Judith Butler, bell hooks and Susan Brownmiller it explores the lack of discussion regarding intersectional feminism within contemporary art.

↘@sorohrhades

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BA (HONS) TEXTILE DESIGN

Sophie Allardyce An embroidered textile designer with a passion for colour and material exploration. My graduate collection combines my fascination for structural shape and layered form. Inspired by the elaborate miscellany and intricate tactility of salvage yards in and around Glasgow, this collection has been driven by material curiosity. With a focus on predominantly hand-embroidered processes, I have created an extensive collection of multi-layered designs featuring a juxtaposition of bold form interlaced with intricate colour and material detail. The use of recycled material was imperative to my design process, which celebrates the beauty of discarded objects through restoration.

EE ↘ Quilting: Out of the Home and Into the Gallery.

This extended essay discusses and challenges the contextualisation of modern-day and historical modes of quilt-making, with a focus on the work of the women of Gee’s Bend and the collaborative duo Arrange Whatever Pieces Come Your Way. To examine this work critically, the essay begins by identifying and analysing traditional intricacies of quilting methods. The essay includes an investigation into the Quilts of Gee’s Bend and the controversy surrounding The Quilts of Gee’s Bend exhibition in 2002, exploring the role of textile and material politics.

Academic theories that consider textile objects as communicative material to be read by the viewer and how stories are stitched through these quilted designs, is also discussed. Finally, I will refer to contemporary modes of quilt-making through the work of Arrange Whatever Pieces Come Your Way and their use of textile quilts as an alternative medium to create artwork, focusing on the hierarchy which surrounds the status of textile objects like these. To conclude, the essay combines these discussions of historical and contemporary modes of quilt-making to interpret the most successful context for this textile art.

↘ artsthread.com/profile/sophieallardyce ↘ sophieallardyce@icloud.com ↘ @s.allardyce_textiles

Thomas Kinghorn My project centres on collaging images of rural Inverness-shire (my home) and Glasgow, where I now live, to bring together natural and textured elements contrasted with man-made surfaces and structured qualities found in the city. I have sourced second hand and found waste fabrics, garments and accessories which have been deconstructed, cut up and used to explore combinations of digital dye sublimation, bonding, dyeing and reconstruction. The outcome is a series of unique printed textiles for fashion, of varying dimensions, which could be used as garment details or layered and collaged to cover the body, for both menswear and womenswear. With a focus on reusing old fabrics, I have re-cycled most of my materials to cut down on waste and to show the potential of upcycling textiles and clothing to give unique results. ↘ Masculinity, Social Class, and Power.

I investigate how traditional and more progressive concepts of masculinity and gender relate to and interact with class, and how they connect to broader power structures. In doing so I will highlight the connection between the system of patriarchy, differing expressions of masculinity, and class prejudice, as well as how the perpetuation of traditional understandings of masculinity and gender benefit the most powerful men over other groups. I show that, regardless of different interpretations of the meaning of gender, culturally acceptable expressions of masculinity change over time. Consequently, this demonstrates how systems of patriarchy and class privilege are disrupted by LGBT identities.

EE

THE GLASGOW SCHOOL OF ART

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BA (HONS) TEXTILE DESIGN

Cover image: Millie Collins Studio Photography: Alan McAteer Staff Portrait photography: Shannon Tofts Design: Kat Loudon and Phoebe Willison Headline is Triptych by The Pyte Foundry.

Printed by The Newspaper Club on 55gsm improved newsprint.

All work shown remains the property of the designers and may not be reproduced in print or any other media without written permissions. Contact details for all work is provided on each page for any enquiries.