ATV Part 5 Project 3 Experimenting and taking risks

In this project we are required to translate qualities from our drawings into material and stitch explorations and further develop the textile and yarn concepts produced in Project 2.

My drawing printed directly onto material

This worked fairly well, the printer skipped a little and the colours were slightly different from the original drawing.

Printed photo onto textile paper, fixed to jersey material and stitched.

A mixture of fabric layered and stitched to produce a 3D group of shells

Thread and material scraps that have been sandwiched between soluble stabiliser and over stitched.

Felt background, with strips of other fabrics, stitched and manipulated with heat gun

Heat manipulated fabric and then stitched.

Layered, stitched and cut fabric

Stitched spirals and then heat manipulated

Quilted shell shapes and then hand stitched detail.

Free embroidered shapes on fabric

Free embroidered lace

Wrapped and tied fabrics then steamed.

Various knotted and crocheted linear forms.

Tubular crochet forms, created with wire and stitching.

ATV Part 5 Project 2 Building a response – Textile and yarn concepts

Development of textile concepts

Using my drawings from Project 1 I developed the following textile concepts.

Development of yarn and linear concepts

Folded and crumpled paper which was then stitched

Layered papers with stitch. Torn and crumpled papers.

Layered papers and foam with paint and pen.

Layered and cut out papers

Examples of folded and layered papers

Wrapped and knotted papers

ATV Part 5 Project 2 Building a response

Identity and present your colour palette

Following my development of drawings I have chosen these colour palettes inspired by photos and drawings from the marine environment.

Be inspired by an artist or designer

Lee Alexander MacQueen

I want to hold my hand up to being guilty of not paying much attention to fashion in the past. I always felt very removed from the culture of trends and catwalk collections. Clothing for me was about practicalities and what was available although I always veered to more unusual looks if I was exposed to them. Now having the internet we are exposed to so much information it’s possible to find designers that appeal to you or watch catwalk shows of the latest or past collections and even to see some of the processes involved in creating them.

During my research of these, MacQueen’s work really stood out to me. As I have said knowing nothing about him I did research only to discover sadly he is no longer here and that we shared a birthday. I also discovered he was fascinated by his Scottish heritage and his ancestors belonged to an area of Skye where my own came from.

I think his work was particularly inspiring as he broke boundaries producing his collections. You can see the commitment to the theme he is trying to convey. His catwalk shows were more like performance art and the outfits often made from unusual materials which produced reactions of shock and awe. He was certainly a master of his craft.

I am particularly drawn to the work created for his Voss Spring/Summer 2001 collection, the colours in the green outfits, the razorshell dress and the outfits made with mussel shells. Other things were the embroidery, the asymmetric cuts and the use of unusual materials as in the red microscope slide dress.

Fig.1. Alexander McQueen Spring 2001 Ready-to-Wear Fashion Show (2001)

Fig. 2. Alexander McQueen Spring 2001 Ready-to-Wear Fashion Show (2001)

Fig. 3. Voss, Alexander McQueen (2001)

Fig. 4. Alexander McQueen Spring/Summer (2001)

Fig. 5. Exotic Pieces of Alexander McQueen’s Savage Beauty Fashion

Iris van Herpen

Iris van Herpen is a Dutch fashion designer. Since her first show in 2007 she has continued to investigate and invent new ways of combining traditional and radical materials within her garment construction producing futuristic looking forms.

Van Herpen innovative approach has included the use of 3D printing as a garment construction technique and her work is almost a form of sculpture. In terms of research for this project I was particularly drawn to her ‘Water Dress’. For this piece she collaborated with Nick Knight who captured high speed footage of model Daphne Guinness being splashed with black and clear water. She then chose her final idea from one of the many images and heated and sculpted plastic to produce the dress.

Fig. 6. Iris van Herpen Water Dress (2013)

Fig. 1. and Fig. 2. Alexander McQueen Spring 2001 Ready-to-Wear Fashion Show (2001) At: (Accessed on 30 Nov 2018)

Fig. 3. Voss, Alexander McQueen (2001) At: (Accessed on 30 Nov 2018)

Fig. 4. Alexander McQueen Spring/Summer (2001) At: (Accessed on 30 Nov 2018)

Fig. 5. Exotic Pieces of Alexander McQueen’s Savage Beauty Fashion (2015) At: (Accessed on 30 Nov 2018)

Fig. 6. Iris van Herpen Water Dress (2013) At: (Accessed on 30 Nov 2018)

ATV 5 Project 1 Developing visual research

I reviewed my visual research from the Introduction and Parts 1 and 2 and other ideas and sketches made during the process of the course. My strengths lie in my more detailed observational drawings and I feel my concept drawings of ideas are a weakness. I find it difficult to convey my ideas from my head to the paper, I expect I lack confidence in this as looking back these sketches tend to be very small.
I have chosen to go with Option 1 Strengthening a theme. This involves going back to look at Part 1 The Introductory Project. My choice of theme for this was ‘Nature’s Larder’.

As we are not constrained to producing just a still-life composition from household objects like we did initially I wanted to strengthen and develop this theme by thinking more about Nature’s Larder and what that meant to me. My development features a lot of investigation into the sea.

Here are some of my drawings.

Watercolour crayons drawing of lobster

Watercolour crayon and pen Bladderwrack

Intaglio print of seaweeds

Acrylics Fish skin

Mixed media Mussel shell

Pencil Honey Bee and honeycombs

ATV Part 5 Introduction

ATV Part 5

I am returning to my studies after a break. I had to take some time off to deal with some personal events and although this course has never been far from my mind. I feel the time has flown by and I need to now make more time for me to continue with my studies. Before this time out I had actually completed and submitted Part 4 of my practical work but still have to update my blog with my processes. I have decided to leave this for now and complete part 5 and will return to it again.

The ATV course guidelines ask us to consider this statement,

‘The studio is a laboratory, not a factory. An exhibition is the result of your experiments, but the process is never-ending. So an exhibition is not a conclusion.’

(Chris Ofili)

This statement makes me feel excited I relish experimenting and although for someone like me as a total beginner everything is an experiment I think Ofili’s approach is how the creative approach works. For me I have lots of ideas, then I spend quite a lot of time reflecting on them and trying to work out how I might achieve them. When I have more refined ideas I research materials and processes and then I will experiment to see how these ideas work out. So on reflection, for me not everything is experimenting there is a lot of thinking and reflection beforehand.

Thinking of an exhibition, or in our case the submission of work, as a result of the experiment rather than a conclusion makes me think it is possible that at that moment in time it is a conclusion. When you have an outcome in my mind and have achieved it that is a conclusion but I can also understand how that could be seen as a result that at some time in the future you may rework or develop into a new work. Although we are not required to present textiles in a final form I do think you can’t help visualising your work if it was developed further.

Younge, G. (2010) After the Elephant Dung: Chris Ofili (Accessed on 29 Nov 2018)