I am always fascinated by the processes designers employ in the development of their work. The sketches, the moodboards, the fabric samples - the collation and display of this information seems like an artform in itself. It gives us a true insight into a designers' thought process and a glimpse into the way they see and interpret the world.
I think seeing the thought process would help in many instances to understand the context of a collection, particularly the slightly more obscure designs. So I was thrilled to be allowed to see inside the world of a fashion student and the processes that go with developing and learning their skill.
Kate Stewart is studying Fashion Textiles with Business Studies at Brighton, specialising in knitwear. This is of particular interest to me since knitwear is one of those areas that is so traditional that seeing the boundaries being pushed, and the medium being manipulated, really feels like proper progress.
Here is a wee peek at her visual research and her explanations of the references.
1: Based on a brief provided by a company for an A/W collection. Looking at surface texture through cable and stitch patterns; creating interest within shades of grey.
2: Handknit project. Based on geological structures
3: Project brief was structure. Looking to create artificial structure, depth and perspective by distorting a fabric's surface through illusions and colour, confusing the eye.
4: Concept evolved around taking time to mend, personalize, alter old garments. Passing down clothes, techniques, names. Hidden or subtle craftsmanship and detail (there was a lot of handwork here: embroidery, hand knit, hand tying threads to make yarn, initialing samples)
5: Project inspired by sportswear and technology:
rollerblading, glow-in-the-dark and reflective materials, padding and protection, wear-resistance. Samples which would mould around and move with the body, protecting, hiding or emphasising it.
6: Starting point was 15th c. Peruvian featherwork. Playing with densities and weight. How a piece can interact with a body, how the body can change the shape and look of a piece of knit.
It was fascinating to me to see her flow of thoughts and how she interprets those thoughts into something tangible. When I look at the samples I get a real sense of urban decay. To my eyes there seems a sense of warning against the crumbling infrastructure of inner cities. Maybe Kate didn't mean it to be so dark, but for some reason that's what I see.
Seeing her work and knowing that in 2 years the students have only made one garment, since the processes are intricate and extremely complex, makes me respect knitwear designers like Sandra Backlund, who are pushing the discipline to it's limits, even more.
Thanks for sharing your work Kate.
Queen Michelle