Evaluation of Intentions

Overall, I feel as though I have worked well and consistently throughout the project. I made a positive start and was working well with my inital research at the beginning and really enjoyed translating my colours and drawings into knit samples.

Using the Dubied machine has been a particularly difficult challenge to overcome however. I found myself becoming frustrated and began avoiding using them at all. I did however, decide to push through the hardest part- simply getting used to something new. I'm really glad that I did, as now, I feel that the Dubied can create really gorgeous fabric that both look and feels dramatically more finished and substantial than samples that are created using a domestic machine.

I feel as though this will be really positive in my future as a knit student/designer and will allow me to realise my designs and ideas. I can see a dramatic improvement in my skills on the Dubied already and feel that with practice, I could produce lovely work in the future.

I think that I need to work on balancing all aspects of the project, without allowing certain aspects to suffer as a result of me spending more time on other parts. As I began sampling, I found myself neglecting my sketchbook work. I have been documenting my progress via this blog but I feel that in the next project, it would be more beneficial to keep up to date with my sketchbook on a constant basis, rather than at the beginning of the project then letting it fizzle out.

I feel that my relationship with my fellow knit students and tutor Laura has helped me through hard points in my project and has meant that I have managed to talk through my ideas clearly. I've found that the group tutorials mean that I could see how other students were finding aspects of the unit and it meant that we could all share ideas and suggestions for improvement, something that should always be taken on board.

I feel as though I have given 100% in this unit and I am pleased to see all the hard work coming together, creating a body of work that I actually like.

I've really enjoyed being experimental with both process and materials in this project. I've tried to challenge certain knit processes such as using the intarsia carriage to knit strips with empty space surrounding them, using the pockets technique on the dubied but only creating one pocket and using latex with knitwear throughout the project.

Final sampling

I have decided to upload two of my final samples. Laura told us that we needed between 8-12. I found this quite a challenge but as I am reaching the end of this unit, I can now see my samples working together as a collection.

The sample (left) was created using the intarsia carriage in order to create windows that I later filled with dyed latex.

The sample (left) was created on the dubied machine. I used a 10G for the relatively fine cotton. I cast decided to introduce colour through a small stripe. I included a darker shade of grey in the ripple sections of the sample and to tie in other colours, reintroduced the minty colour into another  of the ripples. I feel that I have paid attention to detail in order to give the sample a finished, crisp and clean look and that the sample has worked particularly well and could be one of my favourites.

 

 

Dominic Louis

As well as Hourani, I came across unisex designer Dominic Louis. I feel as though (in a similar way to Hourani) Louis creates interchangable garments or retains a very fluid vibe between male and female through garment silhouette, matching features and fabric choices. This is something that I have found really interesting.
 
 

Rad Hourani- Unisex Haute Couture.

When researching unisex designers, I discovered Rad Hourani. I adore his clean lines and perfectly excecuted simplicity and the interchangablity from male to female so fluidly.

 

I feel as though my samples would also sit comfortably in between the male/female border in a similar way that Hourani's designs do. I also like the very subtle differences between the "male" and "female" garments such as hem line etc.

 

 

clean, crisp, interchangable

 

 



Final tutorial

I was quite nervous and have felt dreadful in the past week or so and feel as though time is really running out. I was anxious to show the group the beginnings of final samples and was beginning to panic about how difficult I was finding it to create perfect final samples with no dropped stitches etc.

I shared all ideas and showed what I had developed and the group were encouraging. However,  a spanner was thrown in the works when they all felt as though, aesthetically, that my work was looking increasingly masculine and shoudl be made as a menswear collection of samples. This really threw me off and I didn't know what to do as I was quite strong on my collection being aimed at females. However, after taking on board advice, I have used softer greys and refined my colour palette (right.

As I had decided to create a series of samples that would be used for protective accessories and over garments and listening to the group has lead me to decide that I am going to change ideas slightly and apply my samples to a unisex audience. I feel that the colours feel appropriate to the style conscious future, applicable to either male or female. I feel as though now I may need to find some designers from a menswear background or perhaps designers that have created unisex collections.

Further moulage

 

I have experimented with my chunky, hand-knitted latex sample on my head, creating a collar like structure to be worn around the neck.

 

I feel as though the stiff property that the latex has meant that the collar works well and retains it's shape well. I also feel that it would work well as edgings or trims to other garments and would work within my collection of other samples. I also wanted to retain the quality of my samples and photograph them professionally and cleanly.

 

 

Moulage to realise context of final samples.

I felt that it would be important to visually display and represent how I see some of my final knit samples to be used.

 

I feel that creating samples that cover the neck and face would work especially well, relating to my theme of protection (from poisonous gases, radiation etc). I also liked the duel function of the pieces that I have represented on my polystyrene head. Initially, the piece functions as a snood/scarf like garment that can be worn as a high collar. When needed, the collar's draw string at the top can be loosened and pulled over the face, to protect it when needed.

 

I feel that working physically with the knit samples is an effective way of showing the samples as I would want them to be used and I find it to be an interesting alternative to illustrating the final designs through drawing.

 

In this particular sample, I decided to knit a section of drop-stitch in a contrasting colour, to interact with the deep grey yarns. The drop-stitch section meant that it is possible to see through it, providing the wearer with a window that they can be both guarded by and see through. I feel as though the colours work beautifully together.

 



Ideas for domestic final samples.

I also want to use the domestic knitting machine in order to create a set of final samples. I really think that the technique that involves partial knit, knitting some waste, removing it and manipulating the knit by hand and reintroducing it to the machine. I feel as though it links well to my original photographs and the whispy shapes that the ink created as it fell through the water.

The loose yet structured feel to the technique works well with the line information provided by the photographs. I feel that a final sample created from this technique will sit well within my collection and hopefully I can get this done tomorrow. Feeling a little unsure about colour but feel as though this could work with multiple colours as opposed to a block colour.

Getting closer

Today has been fairly successful. After the tutorial I feel that this week needed to be spent on trying to resolve some of my ideas in order to create final samples. I really want this pocket idea to be carried through to a final idea so I have been really persistent and have tried several times to get it right.

I have finally got to the stage where I need to cast off and steam but it is still currently hanging from the bed of the Dubied.

In my previous attempts, the machine had dropped some stitches without me realising, sometimes ladders just appeared out of the blue and it did become quite frustrating. The biggest problem that I have encountered is trying the get the knitting that is at either side of the pocket to be consistent and not baggy etc. Sue suggested that I use domestic machine claw weights closer to the top of the bed to try and weigh it down and luckily that appears to have worked.

Including the two rows of pale green works really well with the grey.

The following image is one of my failed attempts and show some of the problems that I've had to overcome (bunching at the sides etc).

To overcome the issue of the stress that appears to be on the stitches right next to the pocket, I have transferred the last stitches before the pocket at either side to the back and front bed.

Experimenting on the Dubied

Last week felt like the week from hell. I was feeling very unconfident and a bit lost when it came to working on the Dubied machines and I was beginning to avoid even going anywhere near them.

I decided to bite the bullet and explore some of the ideas that Laura and Sue had suggested before.

I wanted to explore the pockets technique and contain a sheet of latex within the pocket, transforming it from conventional knitwear to protective knit.

Instead of having lots of smaller pockets, I wanted to have one larger pocket in the centre of my knit. So, being logical, I decided to scale up the needle arrangement that was given to me on an instructions sheet (see image)

 

As the needle arrangement shows, the low butts are where the pockets are and the high buts are the the knit in between. Logically thinking, I decided to make a large area of 45 low butts, with 45 high butts either side, thus creating one large pocket.

 

My first attempt has resulted in a holey mess (above). The technique itself has worked but the structure looks scrappy and messy and therefore I tried an alternative with the help of Amy. I've taken what positives I can find from this first attempt. For example, I feel that a sample all in this colour is a little overpowering and does not look as tasteful as I would hope, however I feel that this soft lilac-grey will work well with grey yarns.

 

 

It has worked in theory but the shaping isn't something that I anticipated happening, however after the tutorial, people liked it and Laura felt that it was really experimental so I was pleased in the end with the outcome, as unexpected as it was.

 

When I do eventually achieve a good, strong sample with the correct tension, I intend to place a layer of latex that I have coloured with colours from my board inside the pocket. I think I will include a ladder in the pocket so that the contents of it are visible.

 

Second attempt.



Apocalypse Apparel by Minki Cheng

 CSM Graduate Minki Cheng has developed a collection of Apocalypse Apparel for extreme conditions survival for the stylish.

I was a little bit put out when I discovered the collection as it explores many of the things that I have been exploring. However I feel I have worked in a different way and decided to draw on the positives of finding another designer that is exploring similar themes to myself rather than being disheartened.

 

I love the consideration of colour and texture within the collection and I find the way that the aesthetics have been taken into consideration beautifully, yet they have retained their protective function- much in the way that I have been exploring throughout the unit.

Key points- Style vs Function, hardware vs tactile

 

 

 

 

 

Tutorial

In this week's tutorial, it was interesting to see everyone's ideas begin to come together to a more resolved conclusion and it became clear that ideas were flowing now, probably due to the fact that we hand in in LESS THAN TWO WEEKS!

I managed to ask lots of questions about visualisation methods such as illustration and Laura also told me that I could pin my samples to a mannequin in order to suggest how I might apply my samples to garments/accessories which is something to consider.

Laura liked the pockets technique that I had tried on the Dubied. I had altered the needle arrangement and did it in such a way that I had one large pocket as opposed to lots of smaller ones and she liked how experimental it was and suggested that I take it further.

She also commented on attention to detail and how I could make things look more 'expensive'. She suggested including two or three rows of a different colour from my palette on some pieces and I feel that this will work well and will give the samples a clean and refined finish.

I am looking forward to experimenting more with Dubied samples as I feel my confidence is growing and I've stopped avoiding going on the machines.

Finalising colour

I was already aware of the colours that I wanted to use and the colours that I had been using throughout this unit, however I felt that it would be useful to finalise my colour selection and present it profesionally on a board format.

I feel that presenting the colours in blocks and using plenty of considered white space allows the colours to breathe and shows them all individually, but also how the react with each other.

 

Marina Hoermanseder

After considering my knitting more and more, I decided that it would be appropriate to begin looking at other designer's work in order to visually contextualise my own samples.

I was browzing website 'Dezeen' as I have found that it has many interesting articles and discovered a fashion designer that has explored garments being quite restrictive and have a protective appearance. Marina Hoermanseder showed her collection at Graduate Fashion Week back in July.

The image (left) combines the restrictive, orthopaedic themes that Hoermanseder has explored in this collection, with a more tactile and luxurious sections that create a hard vs soft vibe.
I felt like this was something that I really wanted to explore in my work, combining conventional knits with plastics and latex and I feel as though this collection summerises the general look that I am aspiring to.

I also think that the attention to smaller details is stunning. The construction of the leather has created a very framed and considered feel to the garments. The hole-punch detailing and hardware style fastenings work beautifully with the delicate ruffles of the undergarments.

I feel that attention to detail and refinement could lead to my samples looking considered and finished. I feel that now I have decided on the majority of my colours it would be the perfect time to consider smaller touches that would lend themselves well to the high end market that my garment ideas would be marketed towards.

I must consider things such as placement, refinement and experiment with these things in order to get the desired that will, in turn, transform the entire feel of my collection. I feel that looking at other artists and designers will help to inform this.

Tutorial

This week's tutorial was slightly worrying as Laura was unable to make it into work the previous week, leaving a two week gap between having any creative contact with a member of staff.

I guess it has shown me that I am able to work independently and that I do not need reassurance regularly. However by the time it did come to the tutorial, I was glad that I finally had a chance to share my progress and latest ideas with the group.

It was interesting to see where other members of the group had taken their projects since our last meeting. I felt quite happy presenting my work and felt that I had plenty to share since the last meeting.

Laura felt that it was best not to feed me too much and said it would be interesting to see where it would go next, but the group did recommend that I start looking at the softer, more luxurious side to my ideas in order to juxtapose against the structural fabrics I have created throug the knit and latex marriage.

WGSN - Emerging trend: Industrial Coatings.

"Heavy-duty coatings are an emerging trend for chunky knits and double jerseys, with tarred or emulsion coatings in various semi-matt to glossy finishes and placements adding a new visual tactility.

One of the most commercial directions is to use laminates in printed motifs, keeping some of the knitted ground visible for a play on hard and soft texture. Semi-cracked and peeling prints add dimension, as does polyurethane coatings on bouclé yarns and textured knit stitches. Black glossy or tarred coatings, clear or opaque plastisol effects, ceramic matt or cracked coatings and oxidised pewter and metallics with a dull sheen provide the most commercial updates."

I discovered an emerging trend on WGSN in the knitwear section of the product categories. I feel as though my work could automatically be linked to this upcoming trend, which made me feel as though my work really could fit within the industry.


Balenciaga A/W 13

Phoebe Brown '13

Fashion houses such as Balenciaga and Phoebe Brown have used processes such as metallic ribbing and starch spraying fabrics to give them an industrial, stiffer aesthetic and feel.

This links perfectly to my work with latex.




Rick Owens

This piece by Rick Owens is also really interesting. I like the organic way that the emulsion paint has cracked with the fabric and records the movement of the body. This could be something to explore within my knit and could be combined with the latex coatings that I have given some samples.


I also feel that the transparancy to my work is lending well to the industrial trend, giving it a sense of clinicalism that is balanced out by my soft colour palette of pale greens, greys, lilacs and purples.

Protective Knit?

I had initially started to create knit samples that related to my initial drawings and practical work. However, I did not feel that they were fulfilling my ideas of being protective.

Having worked with latex throughout the project, it made sense to try and coat a sample in latex, hoping that it would dry clear and retain the appearance of knitwear, but becoming waterproof and impermiable.

As you can tell through the photographs of my samples, the knitting has taken a different form and has become more sculptural as a material. I find the way in which all of the gaps in between the stitches of yarn have become enclosed with rubber really interesting and I am really pleased that it has turned out the way that I hoped.

The only thing that I am not as keen on is the yellow tone that the fabric has taken on. This is due to the natural properties of undyed liquid latex so perhaps it would be benefical for me to colour the latex (as before) or try and use it thinly to allow it to remain transparent and colourless.

 

The image (above) also shows the hole that had been created by using partial knit to be sealed up by latex, creating a window like effect. I feel as though this could be something that could be taken further within the project. I could perhaps introduce colour into the window sections of the samples.

 

 

 

 

Chunky latex yarn knitting.

The chunky latex yarn has been knitted using large pieces of dowel.

It was quite difficult to manoeuvre and manipulate but eventually I did produce a sample in garter stitch.

I think once it is knitted together, the sample allows the purples, greens and greys all to work and interact with each other.

Similarly, the texture of the yarn means that the sample is quite interesting on a visual and tactile level. I find the transparency quite interesting too, particularly where you get hints of colour and you can still see the knitted lycra through the latex.

Problem Solving.

After it became apparent that I could not e-wrap the strips into my knitting, I had to think of an alternative as quickly as possible, so as not to waste time.

I concluded that if the machine could not take the latex, then I would have to hand-knit with it instead.

I decided to knit a long length using elastic on the domestic, and then allow the latex to cover this length. I felt that the matte nature of the elastic would work well with the transparency and colours of the latex and in addition, the stretch might allow for some room to manipulate when hand knitting.

There some problem in finding a way to lay the latex out onto the yarn and allowing it to dry. When the sheeting was laid flat, the latex splurged out and wouldn't stay in place. I therefore created a channel using spare leaflets for the latex to sit within.
I then had to find somewhere to lay out the long length in order to apply the latex and allow it to dry.
 
The studio was the only option that I had in order to allow it to dry and even then it took much longer than anticipated and needed drying with a hair dryer.

I was, by this point stressed up to the eyeballs with it but I felt as though progress had been made by the time the yarn had dried and it was time to begin knitting my sample with it.

Even though 8 metres is a long length, in terms of knitting yarn, I feel it will not make a very large sample. This is a little disappointing, however logistical problems and time constraints mean that it is impractical for me to make a longer length in order to create a larger sample.