#quoialexander

[athingcalledbliss]

Jip Boxstart by Bloom Paris for Peripheral Vision Tank Magazine October 2018

[charlottecarterbcu]

Reference List

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Matt Peers (2020) Work [fig.9]. Available at: https://www.mattpeers.photography/protagonists-of-a-private-play-gallery/hf338q7401lvgg9lnt04rr9ovueu3e [Accessed 20 October 2020].

Matt Peers (n.d.) Short Stories [fig.23] Available at: https://www.mattpeers.photography/demolition-1/bjhu6cvp41ugt03c67o05wdasuttrz [Accessed 29 October 2020].

Menja Stevenson (2015) Bus Tour Available at: http://www.menjastevenson.de/Bustour [Accessed 29 October 2020].

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Meyerowitz, J. and Westerbeck, C. (2017) Bystander: A History of Street Photography. 3rdedn. London: Laurence King.

Nina Boesch (2020) Collages [fig.8]. Available at: https://ninaboesch.com/allproducts/atrainat14th [Accessed 20 October 2020].

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Phillips, S. (2007) Martin Parr. London: Phaidon Press Ltd.

Public Technology (2014) Funding Boost for Birmingham Open Data Project [fig.11]. Available at: https://www.publictechnology.net/articles/news/funding-boost-birmingham-open-data-project [Accessed 4 October 2020].

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Singer, R. (2014) Fabric Manipulation: 150 Creative Sewing Techniques. F&W Media, Incorporated.

Stine Goya (2020) Collections [fig. 44]. Available at: https://stinegoya.com/collections/autumn-winter-2020/products/dean-dress-dress-landscape. [Accessed 11 November 2020].

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Tammy Kanat (2019) Works [fig.3]. Available at: https://www.tammykanat.com/works [Accessed: 15 October 2020].

Tate (2004) Bryan Wynter [fig.15]. Available: https://www.tate.org.uk/art/artists/bryan-wynter-2176 [Accessed 21 October 2020].

Tate (n.d.) Dennis Creffield [fig. 37]. Available at: https://www.tate.org.uk/art/artworks/creffield-durham-the-central-tower-t05753. [Accessed 11 November 2020].

Tate (n.d.) Rachel Whiteread [fig.22] Available at: https://www.tate.org.uk/art/artworks/whiteread-demolished-66016/3 [Accessed 27 October 2020].

The National Gallery (2020) Vincent Van Gogh [fig. 7] Available at: https://www.nationalgallery.org.uk/paintings/vincent-van-gogh-a-wheatfield-with-cypresses [Accessed 20 October 2020].

The Weave Shed (2012) Sian O’Doherty [fig.18] Available at: http://www.theweaveshed.org/334/sian-odoherty-weave-designer/ [Accessed 1 November 2020].

Timorous Beasties (2020) Fabrics [fig.5]. Available at: https://www.timorousbeasties.com/shop/view-product/london-toile-fabric?item=382 [Accessed 20 October 2020].

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Vogue (2013) Fall 2013 Ready to Wear – Maison Margiela [fig.14]. Available at: https://www.vogue.com/fashion-shows/fall-2013-ready-to-wear/maison-martin-margiela/slideshow/collection#19 [Accessed 21 October 2020].

Vogue (2020) Craig Green [fig. 43]. Available at: https://www.vogue.co.uk/shows/autumn-winter-2020-menswear/craig-green/collection. [Accessed 7 November 2020].

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Vogue (2020) Spring 2021 Ready to Wear – Fendi [fig. 20]. Available at: https://www.vogue.com/fashion-shows/spring-2021-ready-to-wear/fendi/slideshow/collection#62. [Accessed 10 November 2020].

Vogue (2020) Spring 2021 Ready to Wear – Gabriela Hearst [fig. 38]. Available at: https://www.vogue.com/fashion-shows/spring-2021-ready-to-wear/gabriela-hearst/slideshow/collection#13. [Accessed 11 November 2020].

Vogue (2020) Spring 2021 Ready to Wear – Plan C [fig. 24]. Available at: https://www.vogue.com/fashion-shows/spring-2021-ready-to-wear/plan-c/slideshow/collection#5 [Accessed 4 November 2020].

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  Women’s Wear Daily (2020) The Best Fashion Ad Campaigns of Spring 2020 [fig.13]. Available at: https://wwd.com/fashion-news/fashion-trends/gallery/the-best-fashion-ad-campaigns-of-spring-1203408420/roger-vivier-dinner-to-celebrate-abracashoes-17/ [Accessed 8 October 2020].

Women’s Wear Daily (2020) The Best Fashion Ad Campaigns of Spring 2020 [fig, 29]. Available at: https://wwd.com/fashion-news/fashion-trends/gallery/the-best-fashion-ad-campaigns-of-spring-1203408420/the-best-fashion-ad-campaigns-of-spring-2020-rag-bone/. [Accessed 8 October 2020].  

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Quoi Alexander . #quoialexander #centralsaintmartins #london #fashiondesigner

[charlottecarterbcu]

Weave - Using a Table Loom

Before this first session in the weave workshop I hadn’t done anything like this before. Going in the weave workshop was definitely something that I was looking forward to as I enjoy learning new skills and techniques. Within the workshop there are many different table looms already threaded up with different types and colours of thread. Now that I understand my narrative a little more, I have begun to start linking all of my samples with a similar colour scheme. However, due to the current restrictions I was assigned to a loom, luckily it had been set up with neutral silk warp thread.

We started off the session with a brief safety talk as we had already had a full safety briefing on teams. Then we were shown a demonstration on how to use a weaving loom and create a plain weave. There were many yarns to choose from in the cupboards varying in size, colour, texture and stretch. I chose a plain natural coloured yarn to start with to begin practicing on the loom. Once I had wrapped my weft thread round the shuttle, I began passing it through the warp threads on the loom whilst also alternating the left and right-hand side shaft leavers to ensure that the threads weaved through one another correctly. After each weft thread has been passed through, I also pulled the reed towards me to ensure that all of the threads were compressed well together (Hallett and Johnston, 2010).

After a few practices I began weaving through different colours and textures of yarn. I feel that this weave sample is successful because for a first attempt I got a lot done and the silk warp thread held the weave strongly in place and gave the overall sample a well held together structured finish. I feel that the countryside element of my narrative comes across really well in this piece with the use of different greens, twines and plastic. I also like the effect created by weaving through two different coloured weft threads at the same time. I really enjoyed this workshop and creating this sample and look forward to creating another weave sample in a fortnight.

With this being my first ever weave sample I feel that there is a lot going on in it, and because I wanted to experiment with different techniques and textures of yarn the overall look of the sample does look a little mismatched. The thick green stretchy fabric that I used also pulled the weave in, misshaping it. I corrected this as I continued with the sample finishing with just a single piece rather than weaving it back through which caused it to pull in at the beginning. Due to the overall sample having a lot of different textures already running through it, I do not plan on developing this sample any further as I like it as it is and don’t want to overdo it more than it already is. However, when I’m next in the weave workshop I would like to have a go at weaving through some everyday objects such as leaves or train tickets. I would also like to try and link my sample to a more urban landscape with the use of different coloured yarn.

The overall look of this sample links really well to my narrative. Many of my primary photographs were taken out in the countryside. The different contrasting colours used in the sample look similar to my primary photo above where you can see the hedge, path, pilled hay, crop field and trees all in one image. The way in which the greens and browns line up to one another in the sample looks like an aerial view of somewhere in the countryside like the photo above, with the different colours of the countryside weaving into one another.

Quoi Alexander creates very visually impactful weaved garments. I feel that this piece links with my sample because both pieces have a visual link to nature with the earthy green tones used with the raw edge finish. Alexander has used thick pieces of different textural thread to create this garment. It also feels very free and experimental which I can take inspiration from as I sometimes over think my ideas and make my samples too structured, overall holding them back imaginatively.

Alexanders use of grey through the garment breaks up the green and also links well with my comparison narrative. With my next sample I will use more of a variety of different colours to help my sample relate to all aspects of my theme and not just the countryside part. Using grey would be a good representation of the buildings of Birmingham. The top of the sleeve on Alexanders piece looks a little like Selfridges and something like this would work really well in my next sample.

Orange is used throughout the train station and on the train as a contrasting colour to the more subdued main colours. Alexander has a clear colour pattern throughout the main structure, however, coming off the raw edges of the sleeve are contrasting red strips that do not link with the grey and green in the rest of the garment. This really stands out and gives the piece an edge. With many of my samples I have used basic greens and greys, however I will take inspiration from this and will work in some contrasting colours such as the orange from the train when I go on to develop my samples further.

Fig.4 Quoi Alexander, Instagram (2015) quoialexander.