TESSA WISHART
Fashion Design and Theory

RESEARCH

 

My studio work focused a lot on zero waste innovations in patternmaking - I’d identified inspirations within my proposal but feel that an expansion into the depth of may research could be helpful in an ongoing context to guide a shaping project, as well as deeper research into designer research papers and reports together better understanding of development of their projects and design technical developments.

It’s also clear to me that my garments from the last project weren’t based on any existing fashion context, trends, fashion and designer history or historical research. It feels important to me that my work in future be more solidly based on a starting point of good design and fashion research. For example, I should develop better in-depth knowledge of fashion history if I’m creating fashion history inspired garments (such as corsets) in future.

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In terms of my Experimental Surfaces minor work, most of the development was based in practical experimentation and therefore not really based on artist or influence research. My visual source material (images printed into my textile work) was derived from a diagram book, so an in depth research exercise into the visual source material and subsequent themes and personal values which I wish to display n the future (possibly even socio-cultural or social-political values) would go a long way towards forming what sort of images I wish to display in further work. Further, better research into printing processes and the longevity of process and materials would be helpful in future while translating these textile experiments into a fashion based context - for example how the longevity of printing techniques on different materials; which inks to use for durability when washing fabric, does Van Dyke/Cyanotype ink wash out or fade in sunlight, etc. Primary textile research of this variety with wash trials and fabric tests may be useful while designing a slow fashion collection with focus on wearability and durability.

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DEVELOPMENT

 

My past work in sustainability had a significant design process in its translation from 2D to 3D - designing the work led me to realise that it was something of a ‘form follows function’ process. The outcome design of my primary garments and the entirety of the design of my secondary garment was inspired by the development of my low waste modular patterns. The characteristics of the project meant the the primary garment pattern design had to be very geometric in order to make the development of the secondary garments achievable. This development was quite significant, but did lead to being incredibly time consuming and therefore less sustainable for my time allowances.

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My developments in minor work occurred in producing several varying artefacts to form a comprehensive body of work. My visual subject matter was derived from a graphical diagram book, but was chosen mostly for possibilities in layering the designs together to make a better image, rather than being due to any significance to my personal ethics and values. (Political, social and cultural). I did find that creating different artefacts or garments with similar techniques to eventually from a collective body of work was very interesting as a way to explore techniques that I may not wish to carry further - I’ve always enjoyed slow experimentation as a form of development, although I lack the time for that in this final collection project.

 

I also enjoyed the technical processes of creating the metal cut print plates, which I then used frequently between different projects: creating a universal subject matter to feature between garments in a collection. I also really enjoyed the design concept of using these metalwork print plates in later work to create a piece of ‘body armour’ as an art style body or clothing adornment as a progression of the past body of work.

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MAKING

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In my studio work, I’d had intentions to incorporate significant metalwork pieces into my collection, but my focus then shifted away from art based work and I ended up only creating brass metal hardware as a conventional replacement hardware, which I used in my lingerie pieces. I’d particularly love to reintroduce making metalwork as a key design focus in my graduate collection. Making and finishing construction of conventional garments has also been a strength of mine, so I intend to continue this in future.

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In my minor work, the artistic making processes have significantly been most inspiring to me - cyanotype printing textiles and then sewing them into a quilted garment; hand etching and cutting sheet metal to then print a layered textile from; and incorporating my own etched and hand cut metal buckles has by far felt most interesting and individual to me as a true expression of my creative style, fashion interests and personal making abilities. I do not feel that any other designer would be able to produce work of this style and execution standard. I enjoy the concept/consideration that some elements may and may not lend themselves to a greater scale of repetitive production - for example in a business context; I could have the clothing I designed manufactured by a machinist using digitally printed textile made with my printed surface designs, but this textile image and other components such as handcraft details and the handmade metalwork would remain individual to me as they couldn't be made by others.

 

In terms of garment type, there are several garments in which the making has felt most interesting and individualised to me, and which I’d like to continue in future. One of these is lingerie - bras, panties and expressions in corsetry feels very individual to me, and have making techniques which I enjoy and feel that I am good at. In the past I’ve enjoyed making different styles of undergarments - very technically correct pieces which are component reliant using hardware and elastics, and also more relaxed experimental shapes using upcycled or natural fabrics to make interesting sustainability garments. I enjoy incorporating elements of sustainability and waste management into undergarments - I did this in the Alternative Perspectives brief and most recent studio project, and I also have intentions to create another similar garment in patchwork using printed silk created when making my van dyke/cyanotype minor fashion work. I do feel that undergarments are best displayed in support of other main garments, so I wouldn’t wish to design a collection which was exclusively underwear.

Other making techniques which I feel are most relevant to my design ethos include metalwork, patchwork, printwork and handcraft based technique.

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COMMUNICATION

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Communication is an area that I most wish to improve on. In my last project, I took video footage and time lapses to show design development, progress and construction; as well as intending to take footage of models wearing and walking in the final garments. However, a lack of time and digital skill prevented me from actually compiling this footage into a film, which was a shame - I feel that this transparency in design development and zero waste processes demonstrated through film would’ve really elevated the outcome of the portfolio and the overall concept of this body of work.

 

I also feel my communication in the final portfolio and weekly updates was really lacking, due to a lack of familiarity working with digital platforms such as website builders, as I find them to be time consuming and detract from the time allocated to the overall project. I am unskilled in using formatting tools such as InDesign, Photoshop and Illustrator; so tend to communicate through simpler platforms such as Google Slides. I strongly believe that learning and practicing these tools and becoming familiar with graphic design styling and formats would largely elevate the communication of my working processes and outcomes. I would also like to manoeuvre myself into a position where I should next be able to create a really successful personal portfolio website immediately safer finishing my degree to establish myself as a graduate designer, so I would love to strengthen my digital communication skills this semester to prepare for this.

 

It has also become very clear to me in the past that executing my final garments through excellent photography and videography, with models wearing the garments strongly elevates visual communication of the final garments in my portfolio and establishes the outcome and design intentions. I intend to allow myself the time and opportunity to make this a priority in my graduate collection work.

 

I also wish to communicate early design intentions through fashion sketches. I’ve really enjoyed drawing classes in the past, including life drawing. I also always do a lot of sketching and design deliberations, but have noticed that these don’t usually make it into my portfolio to demonstrate the full extent of my work since they aren’t presented properly. I’d love to find the time to make a better effort in fashion sketching and rendering, whether digitally or by hand, especially in my final collection lineup designs as well.

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