I've tackle the reflection for this project in a problem-solution approach as this is helping me to process my thoughts and actions.
Problem = Questions that I continuously ask myself about the project development
Solution= The answers to the question across reflection, action, self-evaluation and generation of alternatives
Inputs= from where I take the ideas, the research areas across which I tackle the problem
About what can it be the unit 7 project? Today I got the idea for the project while I was listening Vivaldi's Four Seasons by wooden instruments. The image of my friend Javier playing this piece with his violin came to my mind and also his Facebook picture of him dressed as a modern violinist. I think I am going to do this project about my friend Javier.
How can express Javier's love for the music? Javier started a romance with music in his childhood. There were difficult moments in "the relationship" as violin is one of the most difficult instruments to play and it involves hard-work, but now, in his adulthood he is a successful violinist and Suzuki violin teacher. I'd like to celebrate in this project his love for music, and the instrument that let him reach the love: the violin. A wedding is the culmination/ celebration of love for human coupes and I was thinking about marring Javier to the music. I was thinking about creating a groom garment for Javier.
What material can help me express Javier's love for the music? In the painting La Marieé (The Bride) by Marc Chagall that I found on Javier's Facebook post, the bride wears a colourful dress but a white traditional veil. Most bridal veils are made out of tulle. I am going to use tulle for Javier to represent that he is married to music and an item associated with the feminine bride because I'd like to cross stereotypical gender roles.
I want to reflect Javier's personality and I see him as a very colourful person What colour palette should I use? ColourStrings is an aspect of The Suzuki Method, which uses 4 meaningful colours: yellow represents the Sun, red is for the rooftop, green is for the meadow and blue is for the sea. The colours go from the highest yellow Sun, to the flat blue sea. The colours in this way represent the bow and its different positions. The meaning given to the same colours in The Centre Pompidou really reinforces the idea of using these colours as a statement and to represent different aspects of Javier personality:
- GREEN: for its associations with nature, I'd like to represent regrowth. Javier went from being a violinist student to a violinist teacher.
- RED: for being empowered through the passions. Javier is a successful violinist because he made his passion his way of living.
- BLUE: through associations with the sky, the ocean, and water, I want to represent freedom and openness. Javier has been always a free soul and his mind always goes beyond his body.
- YELLOW: associating with Javier's blond hair as his identity physic feature, representing the link of childhood and adulthood.
As I consider black and white as no colours:
- BLACK: I will use black to underline the bold colours, that means that I will underline the meaning of each colour in my project.
- WHITE: I will leave white spaces in my painting, representing that I am leaving blank spaces for imagination, as this is an important aspect to develop creativity.
I collaged Javier with a picture of Wagner and his muse and I also added music, because both Javier and Music are my muses for this project.
Should I just focus on Javier of make the project more personal? I do believe in collaborative work. Although I am developing this project on my own, Javier is helping me with information and pictures about himself. He is also making public all his Instagram pictures (the hidden ones) for me to select the ones I find interesting. I find him a source of inspiration and I think himself as a person is powerful enough to focus the project around his persona.
I don't get the point when creative designers talk in singular and gain a celebrity fame and get a god consideration. I get the point that they are the creative force but they have a huge team behind them that make their ideas a tangible reality. They also take inspiration from previous designers or previous fashion eras as well as from art, architecture or social issues that the have not created. I strongly believe in synergies when there is a collaborative work.
I saw few days ago several Iris Van Herper's documentaries. I was already in love with her work but I absolutely felt for her personality. Van Herper was talking about how collaborations has made and are making her work stronger. When she had the ideas but not the technology or resources, collaborations made her ideas tangible. Van Herper was also talking about how she likes to create with her hands and how sometimes that is the point of start and not a sketch. I was really pleased to hear this as I like to develop textile swatches that might inspire further garment development. Not working in the order that most people spect you to do, doesn't mean that you are doing wrong, it's just different.
Today I got first feedback for this project. My partner from the Neighbourhood project was Jessie and I had to share the brief for unit 7 with her. We ended up doing a group feedback with Kate and Francesca, which is nothing but better as it creates synergies. They told me to open my mind beyond a white final outcome (which I already did and reflected). Jessie told me to pay attention to the body parts that are needed to play violin, which is the most interesting aspect that I am taking from the feedback session. Jessie also told me to draw Javier live and take inspiration from his physical appearance.
Thinking about the feedback that I just got, What body parts are needed to play violin? I was thinking that for Javier and myself, our hands are extremely important for us: Javier won't be able to play violin without his hands and I won't be able to experiment with fabric without my hands. I think I should extol in the project the body parts that we use to reach our love for our passions. I'd say that Javi's neck, arms and hands are key but watching videos of Javier teaching, I realised how the feet are important to balance the body, which makes the difference in the sound of the violin.
Today I was thinking about how easy might be to get lost in an extended research. How can I avoid losing the focus of the project? I have created a mood board to keep it in my desk and visually identify what Javier likes, aspects that I have previously considered in a mind map. I am going to use these pictures as different pathways of research and not as the destination.
How can I start drawing Javier? As Javier lives in Spain, I can draw him by looking at his pictures.Because this project starts looking as his passion about music, I am going to look at one picture with his violin. What drawing technique can I use? I think continuous line allows me a more interesting outcome because it is a continuous improvisation and this goes against my control-freak mind. I get the impression that I get the best outcomes when I am free of my mind.
Why I am not happy with Javier's illustration? I completelly coloured Javier's clothes with bold colours without leaving blank spaces, to start with, I think that I have excessed in colour. I looked at colourist artists' illustrations and I realised how colour might be highlighted by just colouring some parts of the illustration.
How can I paint a violin? I mixed different acrylic colours and blend them with a squeegee inspired by Gerhard Richter's work. Why I don't like this painting? I find it too dark because by mixing the colours browns are created. How can I reuse this painting? I tried to fix the painting by cutting it to creates 5 strings that resemble a musical pentagram.
What aspects of his violin can I highlight? I've interviewed Javier by video call and he told me that the "fs" of the violin are one of his preferred aesthetic feature of the instrument so I painted the "fs" in different colours and I collaged them as if they were musical notation coming from the pentagram. As "fs" are the holes in the violin, I made the painted "fs" break through Javier's body in the illustration.
Today I was thinking how childhood experiences unconsciously mark our adulthood and I'd lie to express this in the project. Javier is a successful violinist in his adulthood because he started music training in his childhood. How can I make Javier's both childhood and adulthood visual? I think I am going to illustrate Javier as a child with his bowl haircut, and also illustrate Javier as an adult with his glasses.
How can I combine the colours? I've analysed Javier Pinterest and he organise the folders by colour blocking. The isolation of colours is also present in the Memphis Milano design, to which Javier is obsessed with.
How many colours should I use? I already chose four colour (red, yellow, green and blue). I am going to add another colour to get five for two reasons:
- 5 is a powerful number in music; Five are the lines of a pentagram and whichever instrument, regardless the clef (sol, la, fa or do) has to be read in a pentagram. A pentagram is the vehicle for the notes in order to make sense, and the pentagram makes music an international language.
- A gave to blue the meaning of freedom but I'd like to highlight how the childhood freedom of expression is also important. So I am going to use baby blue for childhood and Klein blue for adulthood.
Today I want to draw Javier's instrument, the violin. I find the violin's aesthetic incredible beautiful and elegant. How can I draw the violin in a non-obvious way? I think that instead of drawing the violin as a whole, I am going to isolate parts of the violin, taking inspiration from Arman's deconstructed violins sculptures.
I also tried to paint the violins with a different colour palette with blacks, browns, greys and some colour but I hated the look as I found it boring and not representing Javier. It was giving me a dark and moaning feeling that I don't want to translate in this project.
I asked Javier what are the parts of the violin that he finds more beautiful and he said: the "f",the scroll and pegs. I used the same techniques that I used to draw Javier’s faces. I really like how the illustration of the scroll looks because it has more blocked parts and consequently more colours on it.
How can I start the textile experimentation? I think I need to materials shopping in the chosen colour palette. Why type of materials? I think I am going to start by manipulating fabric and then add other elements.
From where to buy fabric? I went to Goldhawk Road and get different types of fabrics.What type of fabric should I buy? I knew I needed tulle as this material relates to the project but thinking about my research, I see how the same colours look completely different in paintings, sculpture or architecture and this is because they have been approached with different materials, techniques, shapes and purposes. Consequently, I am going to take in the same colours different fabrics to explore the feeling or each material with different techniques. I finally got silk, neoprene, tulle, plastic and crepe as I want to manipulate them and see how the fabric reacts.
What other materials do I need? To develop the project I need a wide range of art media in the colour palette chosen. Thinking about Javier's blond hair, I also got a blonde wig as I want to experiment with hair because Javier's blonde hair has been always his identity feature. I also went to Mighty Pound to get other found materials.
How can I make the symbiosis of Javier and his violin visual? I think I am going to collage different illustrations of Javier as a child and as an adult with the different violin's parts.
I have connected the different pieces by underlining in black and I have coloured the new area created with the colour palette. I really like the result and I am going to translate it into fabric and add 3D elements.
Today has been a really helpful feedback session as I was given amazing feedback from Sofia. She found the concept interesting as it's a tribute to my friend. She recommended to focus more on the childhood vs adulthood part. Sofia likes the ceiling decorations of Changall's Opera Garnier Ceiling in Paris as its a visual representation of music. She also told me that Memphis Milano has a lot of potential, specially with the shapes. Sofia's recommendations were to record an interview with Javier and ask him about his feelings when playing violin and teaching. She told me to draw the sound waves of the violin by listening violin and also the position of the hands.
Tutor Victoria also gave me her feedback; to be more specific from where the colours come from and to play around with the browns, blacks and greys. When doing the prints, Victoria suggested to think about multidirectional when applying into the body, flipping the faces and think about drawing the hands also and not just the faces. To draw the strings moving was a very interesting concept.
HASHTAGS: We were asked to write 4 hashtags/search terms to define the project and mine are as follows: #SYMBIOSIS #PASSIONS #VIOLIN #PAINTING
ELEVATOR PITCH: We had to brief persuasive speech to spark interest in our project: My project is inspired by my friend who is a violinist. It's a symbiosis through his passions (the music and violin) and my passions (painting and fabric manipulation). I explore how the childhood's experiences mark the adulthood and how surrounding by inspiring people can make the most of one's creativity.
MIND MAP: Drawing a mind map wasn't as simple as I thought because the different approaches are connected in my project but I had to separate them in different bubbles for the mind map. It is useful to keep it as a reference and be able to come back.
Today we were ask to explore and apply a range of practical methods and skills when making textile swatches. I didn't bring any materials, I just had drawing media. How can I make textile swatches with drawing media? I experimented with tape and paper. I was thinking about the strings of the violin, and I created something that resembles an abstract Sol clef Clef with tape. With paper, I collaged a violin.
Aimee, the new tutor, gave me the most amazing feedback as she told me that the symbiosis is the most important part of the project and from where I can take the deep part and she found 4 types of symbiosis: a) Javier and I, b) myself and my passions, c) Javier and his passions and d) My passions and Javier's passions (something visual with a sound).
The symbiosis can be from two completely different things or look at them as a parallel thing. Javier and I use or mind and hands in coordination. I need to ask Javier how he feels when playing piano, what happens in his mind. I need to explore how I feel when painting. I create something visual and Javier creates a sound, which are different things.
Aimee's recommendations are to not be so literal when illustrating and if I use his hair as inspiration, this is just using Javier as a muse and not as a symbiosis.
How can I make a human symbiosis visual? How can I make music tangible? These questions were in my mind during the weekend and I really struggled to find objects related to my project as music isn't tangible. I found devices that help my senses to create: my glasses accurate my sight to be able to make a visual interpretation of what my ears listen through the headphones.
I haven't enjoyed the activity in the studio today as my objects didn't give me textures or interesting shapes. I got at lunch time a couple of classic music vinyls that I find interesting to play with because vinyls are "tangible music" in a way. The studio was packed today and I didn't take advantage of my time, I even got moody. Why I got moody working on the project? and I've realised once more that I need to be isolated in my bubble to be able to create.
Why I can't create anything around people? Being alone most of the time for me is necessary in order to create my best work and I din't enjoy the first part of today's colour workshop as it was collaborative, but I really liked the individual part. It's ironic how I believe in synergies but how tricky is to find people to feel comfortable with, which results in isolation for me to be able to create.
In my table we started by a yellow colour gradient and the only bit of this activity that I found interesting was when I trying gloves in different yellows and playing with my hands because this body part is key in my project.
We were ask to combine our colour objects. How can I combine my colour objects in a way that relate to my project? I fI thought to make a colour sculpture that represents visual/tangible music. The plastic gloves represent the hands needed to play violin and to paint or manipulate textiles. As vinyls got music inside, I used different strips as the strings of the violin.
I found incredibly useful working on colour with squares of paper considering gradient, tonal range, texture and shape. How can I work the different colours I chose? I decided to see how all the colours work together vs. isolating just few of them. I decided to break vinyls to incorporate the bits on the samples and experiment. I think the black from the vinyls helps to highlight the colours and I really like the idea of a bit of black around colour.
On the other hand, I didn't find really useful when cutting squares of images to fin colour combinations.
I am really stuck in the project and I have negative feelings. Why am I stuck in the project? When trying to find objects related to the project I thought that any of Javier's personal objects would relate easily to the project but Javier lives in Spain and I think that creating a project about someone who lives abroad is frustrating me. I have spent time doing secondary research about Javier finding information in his social media and I has also sent me pictures of him. As primary research I have interviewed him via video call but I think this project lacks in own created research.
How can I create my own research? Javier lives and works in Spain and has concerts at the weekend so I cannot really fly Javier to London. I need to go to Spain myself and spend time with Javier and do live drawings about him.
Yesterday I arrived to the city of Valencia (Spain), today, I am in the small village where I met Javier.
I was born in the small village but I moved when I was 16 to the city of Valencia because the feeling of misunderstanding from the village's narrow-minded people was really affecting my mental health.
I've been hanging out with friends from both the city and the village and I have been thinking how the friends that I have made as a adult come and go (event forgetting the existence of some of them) while I do remember all my childhood friends. Why childhood friends mark our lives? I think self-esteem is something gained through time. I have learnt to not being mould by people, whereas, as a child, I was really affected for the people around me. That's why I haven't really develop a strong bond for my adult-friends while I am always going to be attach (for good or bad) to memories I have with my childhood friends.
I've been also analysing the reasons behind this project and why I am playing tribute to Javier? Javier and I have been always considered odd souls in the village. Javier also left the village when he was 16 in his pursue for art high-school as there is not such education in the village. Javier has always being mocked because of his homosexuality, people even used to called him Barbie for his blond hair and his feminine manners. I think this project goes beyond a friendship that stands the test of time, we are linked by being misunderstood as children. Javier is a successful violinist now and I am glad people who mocked him are now seeing how he succeeds and progresses.
How can I take advantage of my time in the village? The music school where Javier and I met has been moved to another place and we used to study at different primary schools, so this makes difficult to find buildings or places that relate to the project. So my solution was searching for colourful spots, as bright colour relates to the project. It grabbed my attention how there is a repetition of colour across the village thanks to two types of spots:
- Recycling areas
Why playgrounds use primary colours? I think that colour-coding makes easy children's coordination, as they play while their space awareness is in development.
Why recycling areas are colourful? Each type of waste goes into a different colour container. Recycling might be a tedious habit for some people but colour makes recycling an easy task.
I am in Spain and today I have been preparing Javier's interview, thinking about relevant questions for the project. How can I make Javier's music visual? I have brought art media and I am going to ask Javier to play his violin while I illustrate him.
Today I've spent the day with Javier in Spain as I really needed this time with him in order to shape the project.
Why is Javier playing standing and barefoot? Javier says that he plays barefoot most of the time and even in concerts because the feet are the root for a balanced body. This is a symbiosis of his feet and body to create balance.
I was thinking about each sense required to play violin. Can Javier play violin blind? Javier says he can blind-play violin and that is also an activity to mind-hands connection whereas. Can I draw blind? I really enjoy blind contour drawing as I train the communication within my hand and eyes whereas, I cannot sew without my eyesight. Can Javier play without listening the violin? Javier cannot play without listening the violin; this instrument is hard to play because to tune the ears with the vibration of the strings isn't easy. Can I be creative without listening to music? Listening to music while making is basically a priority for me, that's why I am 24/7 with the headphones on, because music helps me to isolate my mind and focus on what I am doing. This is a symbiosis of body parts (ears-mind-hands).
Can Javier play without his hands? Javier cannot play without his hands. Can I make something without my hands? I cannot do anything without my hands. Mind and hands are engaged in our practice as we translate our feelings through our hands. This is a symbiosis of our passions across our hands. I decided to draw just the hands in movement inspired by Rodin's hands, as hands doing the action let the imagination to guess the action. So the hands playing violin have no violin, hands sewing have no needle or fabric and hands painting have no brush or paper.
How can I make Javier's music visual in other ways? I painted brushstrokes by feeling the sound of the violin with my right hand and then I drew my non-dominant hand on top of the painting, as a way to include my two hands.
How can I connect our hands in other way? I collaged hands by connecting them with stings (tape), as I wanted to express that the sound created by the strings of the violin was connecting our hands and our passions at the same time (Javier playing/Me painting).
Today I was thinking about bridal veils and their different meanings according to the period of time or country. I particularly like the Greek meaning "protecting the bride from bad spirits". From this, What are other possible meanings of the bridal veil? I'd like to symbolise with the veil that Javier's passion for the music might protect him from unhappiness but the veil covering the face is also something that can really let see reality properly, as it is possible to get blind by love.
How can I translate music to the veil? I was thinking that embroidery is one of the most sublime embellishment techniques one can do with the hands and I'd like to experiment different embroidery techniques in this project. I just got a new embroidery tool to do tambour embroidery. I was thinking about embroider musical notation on tulle.
Isn't the bridal veil just a female garment? For me gender fluidity is something mandatory in fashion and I'd like to attribute Javier a female item.
In what colour can I embroider white tulle? I've embroidered using red thread thinking about the idiom "rose-colored glasses" because to be blinded by the love for the passions might not be a negative thing. I also gave red the meaning of passion, so everything is connected.
How can I manipulate tulle in a way that connects to the project? The curved scroll of the violin resembles for me textile ruffles, so I've learnt with Youtube how to easily make ruffles with the sewing machine. I have collaged the tulle ruffles with some of the illustrations I did live with Javier.
How can I make tangible music with tulle? I've weaved tulle and added bits of vinyl that are wrapped with a cord, representing the strings of the violin.
Today I decided to tittle my sketchbook at this point because not only I want the tittle to summarise the idea of the project, but I also want it to give a gist of the colour palette and textile techniques that I am using.
How can I tittle my sketchbook? I think I can experiment with textiles to create each of the letters that form the word SYMBIOSIS.
What materials? what technique? Javier is a modern forward-thinking person but his passion is to play a really classic instrument. Javier also teaches classic music to children through a modern colourful approach (Suzuki). I used classic embellishment techniques such as embroidery (beading, cording and satin stitch) with modern materials and bright colours; plastic, neoprene, plastic tubes, paint with texturised gels. I got the blue plastic from the socks that are given at the airport when they ask to remove the shoes at the security control.
Today I want to practice tambour embroidery. What can I embroider? Thinking about my beloved right hand that helps me express my thoughts visually, I tambour-embroidered my right hand doing tambour embroidery, but without the tool, as once more, I think the hand doing the action express the action itself and also leaves space for imagination.
My mum masters the alike/resemblance looks and when I sent her the above picture, she replied with the following:
I didn’t know of the existence of this doll made out of stitches that I did when I was a child, but I am pleased that my mum secretly keeps whatever creative I did in my childhood. The best part is that in this project I am considering how childhood unconsciously marks the adulthood and now as an adult I am doing what I used to do as a child.
Today I was thinking that Javier and I have something else in common. Are Javier and I interpreting others? Javier doesn't like to compose music, so for Javier music is "to interpret what others have written before". In my case, even if I am creating from zero, in fact, I am interpreting Javier in this project.
How can I make visual the symbiosis of our hands in other ways? I decided to collage Javier's hands playing violin and my hands drawing and sewing. How can I make this realistic collage abstract? Then, I drew and paint this collage in a more abstract way with lines representing the violin wavelength. How can I make the painting 3D? I wanted to take this exploration further and I created beads from our hands in the painting and I used them around Javier's body in a drawing.
Today when Katie was explaining the different workshops I was thinking: how can I get out of my comfort zone? I decided to do something I have never done before: machine knitting and illustrator.
What was the best thing about the knitting machine workshop? I found machine knitting incredible tedious in the induction session and I thought that knitting is something boring but today Jess was doing demos of different techniques and now I find knitting really interesting and I’d like to apply the techniques in my project. I couldn’t do anything visually interesting as it took me a while to be patient and I use my time just to practice adding different colours and changing tension. I’ve already booked sessions for next week because I really want to get something from the knitting machine.
What was the best thing about the digital workshop? I have work colour with Illustrator and this has been the best activity as it made me reflect and question all my project. Tutor Victoria has told me several times that I can elevate my project by finding more sophisticated and mature colours from the bold and bright ones that I am already using. So I challenged myself in this activity and from one of my colourful paintings I extrapolated also soft colours.
I left the workshop convinced that I needed to find materials in the soft colours because I am tackling childhood and adulthood in the project and this could be a way of going from "childish" bold colours to "mature and sophisticated" soft colours. Why I am NOT getting materials in muted colours? Because I wonder if colour has an age or even a level of sophistication or these are just social convictions!!!?? If I change the colours, my project will lose its meaning and also will look alike to my classmates as in textiles I find the monochrome and soft palette the most popular. Are the muted colour palette or muted colours with an accent colour the right combination of colour in the textile pathway? I think that colour preferences are purely a personal taste. On the other hand, I think that I have found other ways of making my project "mature and sophisticated" because I am combining "childish" bold colours with old techniques such as embroidery.
When going through my colour combinations tutor Victoria said that primary colours mean foundation and the "sophisticated colours" mean higher level. Are muted colours hight level and bright colours lower level? I was thinking that if someone has already started the project using soft colours, then that person is already using proper colours, and consequently in a higher level. So, most of my classmates are already in a higher level just because of the colour choice.
Today Patricia Williams taught us how to make holes with the knitting machine:
Why I find the knit swatches horrible? and I think I need to add other elements to try to fix them. Today was the first day using the loom weaving machine.
I also attended a hand knit workshop with Frances. I previously tried to hand knit with Youtube and my mum but I wasn't able to get it. Today it took me forever to get the routine of hand knit but I am glad I didn't give up and continued trying and trying.
Why my hands only work if I am listening to music in isolation? Today in the studios I first tried to work without headphones (as I find it quite rude when there is a tutor around) but I wasn't able to put anything together. Silent or people's conversations in the background make me feel anxious and I lose control. I am developing this project mostly by listening violin and piano. My hands work better in collaboration with my ears and when I create my space apart from other classmates. I've realised that music with words make me thing about the lyrics while classic music make me reflect a lot about what I am doing. Writing this reflection is also a isolated thing.
Why is Javier so blond and the violin's bow has also blond hair? In such a coincidence, I want to explore a symbiosis of Javier's physic and the violin physic across blond hair.
How can I work the symbiosis of physics across hair? I am going to deconstruct a blond wig in order to create textile samples.
How can I avoid the creepy look usually created by hair in textile? I think that hair might look creepy when combined with nude colours as they resemble human hair, but if I combine hair with bright colours or embellishing hair with beads I might get a different feeling.
Now, the heat press machine is "the hot thing" in the studios as everyone is using it like crazy. I'd like to give it a chance and experiment. What materials related to the project can I heat press? Thinking about materials, tulle is the key material in my project and I'd like to melt colourful plastic on it.
My music source this days is Spotify but I am also tackling childhood in this project so, How I used to listen to music when I was a child? Javier and I were born in 1990 and cassettes represent our childhood. I need to find some vintage cassettes to experiment. It wasnʼt easy to find music cassettes; in charity shops there are lots of vinyls because people collect them but cassettes are underestimated. I had to ask and then, they were brought from the stock room. How can I manipulate the cassette tape? I decided to heat press it.
How I used to learn music? I also got from the charity shop a 4th grade piano book, as it was in that grade when I stopped playing. Music notation is visual music too.
I have considered hands in this project but Javier also told me about the importance of feet when playing violin. How can I work the violinist's feet position? I collaged Javier's feet positions using a lot of colours and different media. I am pleas the mark making inspired a textile swatch.
How can I make visual a symbiosis of feet and hands? Instead of drawing, this time I decided to cut out neoprene feet and hand shapes and collage them. For hands I cut out the whole shape while for feet I cut the borderline. My collage reminds me somehow a Matisse's collages, but I dit it unconsciously. I wanted to develop a drawing from the previous collage and I used acrylics and hard plasters, which I hate on a sketchbook as they create a mess.
I illustrated live Javier's feet when in Spain, and in the profile perspective I can only see a pair of high tops.
How can I make these feet look more like footwear? I decided to add laces to the illustrations as if they were velcro and also as typical laces. This is a symbiosis of feet and fashion.
Today I was thinking about how much research I have done about Memphis Milano and how little I have express this in my sketchbook. How can I bring Memphis Milano to my work? I think I am going to underline colours with black to get a more graphic look. Memphis patters are well know for the use of black bits. I used bits of vinyls wrapped with thread, representing the strings of the violin.The way in which I placed feet, questions gravity, inspired by Marc Chagall's paintings, where his figures don't follow the law of gravity.
Why my mind created associations when placing colours together? I think bright colours are overexploted in branding and advertisement as a way of making memorisation and association easy in society and that's why I unconsciosly associate:
- red + green = Christmas
- yellow + green = Brasil
- yellow + red = McDonals
- red + blue = Barcelona Football Club
I am not a fan of Barça F.C but In the colour workshop with Victoria and Frances, I worked pairs of colours and my preferred one was red and blue. How can I develop red and blue further? I collaged hands and feet shapes in these colour on Javier's body.
Today, when discussing the "maturity" of the colour palette that I am using, the following question was raised: why donʼt you wear bright colours? My relationship with colour is complicated because I used to wear bright colours when I had a dark and depressing mind. Now that I have my mind under control, with a bit of OCD developed, I just dress in black. I think that if my "colourful self" sees more colours on my body, it gets anxious. By wearing black I keep my mind relaxed and under control. On the other hand, I think that for most adults the relationship with dark or "sophisticated" colours is different. For instance, when studying Business, I was told to wear dark suits when delivering speeches as that is "the professional etiquette". For this reason, I think most adults just follow standardised social rules. Another answer to "why don't you wear bright colours" can be what CSM short-course tutor Ian Scott Kettle replied to me few years ago; I was really curious about why he never wears his brand and Ian said: "there are different types of designers: the ones that are behind the brand, the ones aligned to the brand and the ones in front of the brand (the ones that represent the image of the brand in its most flamboyant way) and I am behind the brand". I would never have thought to get to this point but like Ian, I donʼt want to be “in front” of my designs all the time because sometimes I can be inspired by peopleʼs personalities and not just for what I like myself. I used to follow an unique style in the beginning of my twenties but with the past of the time I have learnt to be more tolerant and open-minded, what led me to embrace a wide range of aesthetics, being able now to find attractiveness in opposites such minimalism and extravaganza.
Back to the importance of violinist's feet, How can I highlight the importance of feet in the Suzuki Method? Thinking about the mats with footprints positions that that Javier uses to teach, I did Lino print taking the primary colours of these mats. I cut out the shape of a foot and overlapped several times to create a more abstract print.
I was reflecting about the media I am using to develop the project and I've realised that I haven't really use inks. How can I relate inks to the project? I am thinking about how the movement of the strings in the violin produces the wavelength sound shapes and how it is also possible to move ink drops to create shapes.
How can I also work colour with inks? My experiment with inks was also a colour test. I haven’t use yellow because I was thinking that by removing the brightest colour the whole look might change. After seeing the result, I now understand the power of yellow, how it has the power to add a different feeling to the eye.
How can I use the heat press with colours? I added yellow and remove green and I set the colours within tulle and paper under the heat press. I don't like the result because of the other colour created by blending.
How can I make my textile swatches more interesting? I think I can combine hard with soft elements and also add hard elements to other textile swatches. It is complicated for me to manipulate hard elements and sometimes I prefer to manipulate soft elements first and add the hard ones afterwards. I get the impression that the hard-soft combination makes the samples more interesting because each material gives a different feeling and consequently, more feelings are given to the swatch.
What aspect of the project is the most interesting? Today Patricia Williams asked me about the relation of feet with a violinist and when I told her what Javier explained to me that "violin goes against gravity as it is played upwards and feet are the centre of balance, that's why violinists practice and sometimes perform barefoot", Patricia said that it was interesting as it was something unknown for her.
Suzuki is a method base of learning while playing and that's why I researched the playground. How can I relate the playground to the project? Javier explains the position of the hand on the violin with a simile of the shape of a slide. The shape of the playground ladder is interesting and also the picture of Javier as a child going against gravity while playing in a playground.
Today I am going to take action of yesterday's feedback. I told Patricia Williams that I was thinking about making as final outcome something for the hands or the feet. She told me that I was focusing more on feet than hands, and that I needed to think about how to bring the feet into 3D.
How can tackle feet with textile? My first instinct has been footwear, and I have been positioning and experimenting with textile samples around the feet. I haven't use any shoes as base because I am keeping in mind that for violinists being barefoot when playing the instrument is important.
Everything that I have developed so far for the feet, look very Native American. I sent pictures to my mum (who is the most honest and brutal) and she first said "they look Indian". I have used weaved fabric, bright colours and hair, consequently their resemblance. Even if I like the look of them, this aesthetics doesn't really go with my project.
How can I make my samples to NOT Native American-looking? Patricia Williams says I am very graphic (I am not sure if this is good or bad) but I am going to take it as an advantage and develop something more colour blocking, underlined by black (so really graphic), taking a strong inspiration from Memphis Milano.
I have already tackled a graphic approach in my sketchbook Memphis Milano. What other graphic sources are in my research? I find the structured colour of the Centre Pompidou in Paris really interesting. I can do textile samples inspired by its pipes. I prefer this approach over the one with hair because I get the impression that the simplicity of contrasting structured colours really highlights the power of colour.
Why I am not convince by the outcomes? I don't really like the idea of "sandals" as final outcome.
How can I cover the toes? I like the idea of the shape of the toes and I can shape the toes with fabric. As I want to continue practising tambour embroidery, I am going to embroider "hands embroidering" on red silk.
Why I don't like the toes shaped with fabric? The look reminds me again to Native American moccasins. I really don't want this look.
How can I cover toes in other ways? I think I am going to get black-toe socks to play around.
What is the problem with the weaved sample? I placed a weaved sample over the socks and I really like how it looks but the position reminds me to the "Adidas Slides" and I don't want to follow an over-explored shoe-shape. My mum also told me that they could be a pair of Chanel sandals as the textile reminds her to Chanel tweed. I love this textile sample but I really don't want my final outcome to look "Chanelish".
I find really interesting the shape of the Centre Pompidou Málaga, What can I develop from this centre? This building is a cube with colourful and see-through windows and I was blocked about how to develop footwear from this building. I changed the see through windows for more colourful windows and then, the building inspired me a Rubik cube. I illustrated a Rubik cube collaging one of my previous illustrations with plain colour. I like the idea of a Rubik cube as it is play while developing a mental strength and it relates to the Suzuki method, witch is learn while playing.
How can I make a print from the Centre Pompidou Málaga? I subtracted the colourful windows that I previously added to create a print. Then, I drew my foot in the middle without the hope of visualising something interesting but I clicked and I developed the best footwear so far.
Why I have been avoiding look-alikes or resemblances? I want my final outcome to be original but I am thinking that everything is invented an it is inevitable to not found a resemblance.
How can I approach resemblances in other way? Instead of avoiding, I am going to link resemblances to the project. The elevated base of the illustration inspired by the Pompidou Malaga reminds me to two things: football trainers and Japanese shoes. Javier is a violinist teacher of the Suzuki method, which is a Japanese teaching philosophy and I am personally obsessed with the Japanese fashion aesthetic, so I think I should develop footwear taking inspiration from Japanese Geta shoes.
Saturday 30/3/2019 and Sunday 31/3/2019
Today I am thinking about how can I make elevated shoe heels? and how to relate them to music?
How can I extoll music in my project in a non-obvious way? Looking at my research, most fashion designers have use music in their designs by incorporating music notation. I think this aspect is overexploited and I am going to take another direction. Vinyls and cassettes are tangible music and I am going to incorporate these elements in my samples.
Vinyls and cassettes make me think that these days music isn't tangible at all because music is realised on online platforms. This reached me to the question: How can music stand the test of time? Thinking about materials that help conservation I came with the idea of using resign, inspired by Arman's blue violin in plexiglass, a tribute to his friend Yves Klein.
I was thinking that as an Arman payed homage to Yves Klein, I want to play tribute to Javier because he is a magnificent violin teacher and across his creative way of teaching he helps to keep fun the learning of a difficult discipline, consequently, I think Javier helps to conserve classic music and I want to preserve him. How can I play tribute to Javier? I put in resin Javier's illustrated face.
I was thinking about how I haven't separate my ears from my headphones in this project and how classic music is helping me to paint, sew or develop ideas. I think I can say that music is in my fingertips. How can I make visual that music is in my fingers? Having in my mind the giant sculpture of The Thumb created by Cesar Baldaccini, I just remembered the 3D workshop induction and I think I can cast my fingers.
How can I cast my fingers at home? I probably watched all Youtube videos casting related and I used silicone paste. I started by casting my right index finger thinking about Michelangelo's Creation of Adam in which God and Adam are connected by their index fingers. I'd like to also cast Javier's index finger but the logistic doesn't allow me as he lives in Spain. In which material? I want to cast my fingers with bits of vinyls and cassette tape, consequently I am going to do it in clear resin. In the first attempt, I just used resin but I don't like how it looks, I think the resin went wrong as it got bubbles.
Then, I thought that I am using all my fingers to develop this project, so I cast all my right fingers. This project is very colourful so, how can I make colourful fingers? resin takes min 24h to dry and I need to see a quick result so I am going to make plaster fingers. I mixed a bit of plaster with green acrylic colour but when dried, it doesnʼt look smooth and detailed. So I cast my fingers just with plaster and add colour ink when dried. I first added red colour because my nails are always varnished in red.
How can I make shoes? I think I should start by having the sole as a base, but how can I make shoe soles? My first idea was to get an already made shoes to use the sole as a base. But I wanted toe- shaped shoes as it is what I am developing. I googled 5 toe shoes and the brand Vibram was there. Luckily there is a Vibram store in London. When I got to the shop, I saw how expensive the shoes where and I left handsfree.
How can I make MY OWN shoe toe-shaped sole? I just got a pair of insoles and I have a couple of toe socks. I cut the insole in the 43 shoe size (EU) as it is Javierʼs. I shaped the insole with toes and make it harder with cardboard. I created an exterior appearance sole by painting the sock with granulate plaster.
How can I make finger beads? I tried to cast my finger in latex as I though latex will allow me to sew it and use it as bead but I waited 2 days and latex never dried inside the silicone mold. Plaster or resin don't stick out from the socks as these materials are heavy.
How can I develop the Rubik cube? I think the best part of the illustration of the Rubik cube I that it looks graphic thanks to the black outline. The idea of heavily using black in the final outcome with just bits of bright colour is really considered.
I was thinking about what Javier told me regarding the pleasure created in a concert; not only the pleasure that Javier feels when performing in front of people, but also the pleasure people feel when listening his violin. How can I make visual a symbiosis of Javier and the audience? I decided to cover the members of his orchestra with fabric strings and this collage inspired me the print for the socks. I glued the strings to the socks thinking about the patched Dr Martins that I saw in Camden.
How can I make the bases for the socks? I tried to create a cube with resin and bits of vinyl to use it as a base of the socks but the bits instead of dispersing, they sank to the bottom and I don't like the look. So I created the bases with plaster and then coloured them with black ink.
How can I apply the cassette tape in resin sample and my cast fingers in the socks? I added these samples to the base as they represent how I am making this project, with music.
When replicating the prototype, resin never dried and I had to move on.
How can I develop further my cast fingers? I cast every single finger of my right hand and I colour them in the 5 colours of my chosen colour palette. I added tulle and plastic tube, representing the violin strings. I wanted to place them around the feet but I first sent a picture to my honest mum and she replied "they look like ballerina tutu fingers, you know... the penis props from a bachelorette party". My mum really ruined the visioning of my fingers. I was about to throw them away but I decided to collaged them with different illustrations of my headphones, my hand and music wavelength with bits of vinyls.
As the prototype of base for the shocks with resin failed, today I was thinking: How can I make chunky soles? I don't want to get an already made soles because I want to create everything myself, so expanding foam came to my mind and I shaped it to the toe socks.
How can I cover the expanding foam? When trying different ways to cover the polyurethane, tulle worked because it adds extra volume.
Why I am not convince with the expanding foam now? The expanding foam is rigid and goes agains what Javier told me: “shoes have shape that doesnʼt allow to properly sit the body when playing violin”.
How can I respect the natural shape of the feet? I am not going to use any chunky sole and stick to the painted sole and I probably add more textile samples.
I was playing around with the resin sample with music inside and when I set it as “an ankle bracelet” it reminds me in a way to ankle monitors, use to control house arrest. This makes me think: Am I a prisoner of music? I love philosophy as it makes me question everything; I consider music my ally as it makes me focus but because my creativity depends on music, I am dependance on music, so I am a prisoner to the music.
Is symbiosis a dependence? The dilemma let me think that when two organisms or things depend to each other in order to survive, this also means that they are prisoners to the other as they cannot survive “alone”.
Today I decided to make the final piece. Why isn't easy to replicate a prototype sample? I've been experimenting with different resources that I found along the way, with a certain amount of materials with a experimental technique. Textile experimentation usually is done "without a recipe, and without having the same ingredients is not going to taste the same". I wanted to replicate the weaved net, and the first problem was that I used black fabric from the stitch workshop and now I need to find a similar one that frays easily. I have learnt an important lesson today: even if it takes time, I must record and write down every single material and technique that I use for each textile swatch.
As I still have time to develop the project, I think that the final outcome is not going to be just the socks. I was thinking that in this project I have considered different types of symbiosis. How can I make visual the symbiotically spectrum? I collaged illustrations in a A3 shape and I found them easy to digital print. Once printed, I realised that only the first illustrations (one type of symbiosis) was expressed visually and not a spectrum and I also don't like how the colours look when printed.
How can I express ALL the project development into textiles with PROPER colours? I decided to collage illustrations that represent a spectrum and hand paint them on a white fabric, using it as a blank canvas. For me it is important to express the symbiotical spectrum and not just one type of symbiosis.
What painting techniques? Having in mind the collage with texturised drawings of feet that Patricia William liked, I think I am going to mix plain paint with texturised paint. I think that I don't want to just paint a white fabric and I need to add embellishment. What embellishment techniques? Thinking of the same collage, in which I added 3D elements across padded satin stitch and beads, I think I am going to use this technique in the different illustrations, but not in every single blocked part, just in selected parts because asymmetry is unexpected and can be more interesting.
From 4/4/2019 to 6/4/2019
I am having lots of technical problems but I am learning a lot about hand painting and print in general. Hand painting is taking me forever + the different texture materials take a lot of time to dry. I am creating the texture with Modelling Paste (mate), Heavy Structure Gel (shine) , Granular Plaster (rugged) and Glass Beads Texture Gel (shiny beads). I am accelerating the dry process with a hair-drier.
I got fabric paint in my colour palette but blue dries much darker and to get the yellow of my palette is incredible difficult because first I got a too bright yellow, then a too dull yellow. The solution that I found was to get a textile medium to mix it with yellow acrylic as that is the yellow I want. I am going to repaint all yellow with acrylic and texturised pastes.
I just realised that the fabric paint or the acrylic mixed with textile medium are useless as I am adding non washable beads. But by searching fabric paint mediums I have learnt a lesson for future references. I know now that there are paint for different type of textiles, paint with different finishing (opaque/light/glitter), I can fix fabric paint on fabric with heat and I also can fix acrylics by using a textile medium.
Today I am getting desperate as I am hand painting and embroidering the fabric non-stop and it has no end.
Today I have finished painting the print. I've been collaging the different illustrations that I have developed across the project and represent different types of symbiosis.
What shape for the print? The different illustrations together have created a random shape which I like as in my personal case not overly controlling what I am doing reach me to a better outcomes.
I have added 3D elements by embroidery and beading but I was thinking about how the hands are the element that represent the symbiosis of Javier and I across our passions, so, How can I highlight the hands in the print? I think my project is quite colourful, playful, geometrical and surrealist, which I think might make a minority love it and the majority hate it. When working in the studios, an honest classmate told me that he hates bright colours and geometrical shapes as they go against good taste. A tutor also questioned the sophistication of my colour palette. This brings to my mind one of the collaborative works of Dali and Schiaparelli: The Skeleton Dress, which at the time was consider vulgar.
What is vulgar? I visited few years ago an exhibit at the Barbican called The Vulgar- Fashion Redefined. Vulgar is defined as “lacking sophistication or good taste”. What is good taste? I think taste is all down to a personal opinion. Vulgar might be something eccentric or a strange idea but I think that "strange" is just attributed to what is not standardised in the zeitgeist. I have this opinion because looking back in time, what it was considered as vulgar in the past, it is not consider as such these days just because that "strange" aesthetic has been standardised in society that is now seen as "normal". This reflection leads me also to think about the next Met Exhibit, Camp: Notes of Fashion. It took me a while to understand what is Camp but I realised that it is the same concept of the Vulgar Exhibit at the Barbican. I read that Camp has been defined as the “love of the unnatural: of artifice and exaggeration", aiming to dethrone the serious. Consequently, I am going to consider Schiaparelli "Lady Camp of the 30s" and back to her Skeleton Dress, in which the bones are 3D padded, I think I am going to use this technique to bring the hands 3D in the print.
I used a white crepe as blank canvas but I'd like to give it hardness to be able to create shape. What material can I use that allow me 3D shape on its own? I'm obsessed with neoprene and I have use it in the development of the project.
What type of garment can I make? I developed the socks inspired by Japanese Geta-Footwear and I'd like to create a Kimono-inspired garment.
In which material? I used red neoprene to give shape to the print and I'd like to use the same material to make it cohesive. I got this neoprene more than a year ago. It took me a while to find the same double-side neoprene in the same colour.
Why I am not happy with the print over red neoprene? I find it too plain, even the print is quite extravagant.
I find too plain the garment but I was thinking that I have already spent a lot of money for this project. I haven't set a budget because I didn't want to find my creativity limited by resources. How can I develop my project with the resources I already have? How can I counteract the splurge in materials? Few years ago I was studying at uni Business Administration while working as store manager for a fashion brand. We were selling vintage Levis-ripped shorts for 50€ while I could get them in a second hand market for 6€ and cut them myself. So I started to customise them and give them away to my friends for their birthdays (It was a really win-win situation). I have some Levis in London but I have lots of them in Spain and I asked my mum to send them to London. I think I am going to take the customisation further and upcycle Levis jeans instead.
What element of the jeans should I exalt? I express my fascination for pockets in the lanyard project, as they mean freedom of movement (avoid carrying a bag sometimes) and I think I am going to be exaggerated and use lots of them. How can I relate pockets with the project? I was thinking how the final outcome started from the feet and the reason behind. Violin goes against gravity and feet are important as they are the centre of gravity in a violinist, so I am going to position the pockets against gravity, like the violin, because I already have a solid base (the socks).
I was unstitching the Levis thinking about the deconstruction project. Tutors told us to pay attention to details from both the interior and exterior. Levis labels are iconic and I think they are what make different a regular pair of jeans from a pair of Levis. Why Levis labels are so iconic? I think that part of their success reside in the red-colour-branding, which pops when contrasted with blue jeans. I have already studied red and blue in this project because they are really pleasant to my eyes.
I found incredible interesting how the same model Levis 501 from the same brand is sewed with different interior details depending on where they have been made. They've got human personality somehow because in the interior labels is where the personality of the jeans dwells (where they have been made, composition...). How can I exalt the ID of the jeans? I'd like to reflect a symbiosis of the inside and the outside by exposing the interior labels.
How can I make a garment cohesive with the socks developed? The socks are made out of colour strings and I can use the same strings of fabric as labels.
Which other elements of the jeans can I use? Deconstructing the jeans I find interesting the buttons and buttonholes and I am going to play around with them.
Why hair in the garment? When playing around with materials, I positioned the hair upside down and it reminded me of the picture of Javier going against gravity when in a playground.
How can I sew the pockets and denim? When Jo Simpson was presenting the denim project, an example of technique was the Japanese mending. I first thought about unsticking the neoprene tunic and sew a patterned denim part. But instead, I am going to mend the denim on top of the neoprene because Boro patchwork was built up from many layers to provide extra warmth and the quilts were constructed in a kimono shape, which is the shape I am already using. I know that the garment is not going to look clean in the inside, but it is going to have the mending essence.
Javier says "Music is for sharing and I am an exhibitionist and I like to be listened. I haven't spent years training to play just for myself" How can I bring Javier openness and exhibitionist self to the project? The idea of using exposed zips that might work because zips are usually sewn by hiding them and there also exist the invisible ones. I've got some chunky and colourful zips to play around.
As the tunic was already made, I had to improvise and cut the open part for the zip, measuring the centre. I couldn't position it on the sewing machine and I had to sew it by hand. When sewed, It actually looks straight, something that not always happen when I sew zips using machine. I really enjoy finding solutions to the problems, as problem-solving sometimes reach better solutions.
Am I considering in this project what I have learnt across this course? Today I was thinking that this project is in fact a symbiosis of some previous projects: deconstruction(Levis jeans), cultural swap (it is about Javier), lanyard (I used lots of pockets for the lanyard), denim(Levis jeans), inwards (Digital footprint of Javier as inspiration) and outwards (upcycling Levis).
My sketchbook cover is breaking as it got thick. How can I fix the broken sketchbook cover? I was thinking of taking advantage of the A2 digital print fabric I got. I donʼt like the colours of this textile when the piece is seen as a whole (because green is not always the same), but if I use it as sketchbook's cover I can avoid the colours I don't like. Iʼm thinking about also adding 3d elements to fix it.
Why I can NOT believe that my work and sketchbook have been selected for the exhibit? Today I had to listen twice to believe. I haven't got a place to study a BA in fashion design and I could't imagine that my garment could be exhibited.
Why am I specially thrilled? I feel like this project is completed when exhibited because Javier told me that he likes to perform for an audience as a concert is the culmination of months of preparation and he reaches the climax when pleasing people's ears. I couldn't imagine reflecting this but if my work has been selected this might mean that maybe it is possible to please at least someone's eyes when my work will be exhibited. Javier also compared music with art because he doesn't understand music without sharing it as he doesn't understand art without exhibiting it. I think that the most visually striking part of my final garment is the print and I hand painted white fabric considering it a blank canvas, then I added a more fashion-related elements. For me my final outcome is wearable art in a way.
Today I was analysing the picture I took yesterday with the garment. I didn't use the socks as they are too big for me. I really like how the garment look with plain black boots and I think I won't be happy when shooting the garment with the socks with tulle+hair. Why am I not happy now with the outcome? I've realised today that I developed the socks and the garment separately and not to be worn together. I am glad that the socks with tulle inspired part of the garment. but, (socks with tulle+hair) + (garment) =too much.
Why I added a lot of elements to the socks? I added tulle and hair to the socks because I thought my final outcome was about to finish in the socks and I was finding the first prototype too minimal. Whereas, now, I think that I can go back and use the more minimal socks to be worn with the garment. I think that my personal taste is minimal accessories for a extravagant garment or extravagant accessories for a minimal garment.
Today I have decided to repeat the first sock that I did. I only did one and I created the colour of the fake sole my mixing certain amount of Coeruleum Blue with white sand paste. To get the same colour in the pair, I am going to start from zero.
Today was the shooting of the garment the environment in the studios with the models was really nice. The socks were too small for the model as my friend Javier has a very small feet for his 2m hight. What was the best feeling after the shooting? The garment looks amazing on the model and I love the fact that the garment looks great in both female and male bodies.
I have spent the last days working on Workflow, organising my research and reflection and today Patricia Williams gave us amazing tips for a successful Workflow. How can I improve my research? I need to properly credit the images, create a key of highlight colours, analyse research and make it explicit saying how affects my work. I need to take notes from Javier's interview and explain from where I took the upcycling inspiration. How can I improve my reflection? I need to highlight, reflect in the same amount each day, take all the experimentation into a "experimentation book"
How can I organise my time? Time is ticking and I am going to Spain next week to record a video with Javier. Now, I am going to work on Workflow to feel the gaps and then develop A2 Portfolio sheets. If I have remaining time, then, I will develop a experimentation book.
Today in the studios we were looking at our gaps in Workflow. What is my weakness when writing about my research? I consider that I repeat all the time "this inspires me..." so I asked my classmates to brainstorm synonyms, which has been really helpful.
In the evening, it has been the private view of the foundation exhibit. How do I feel about the foundation exhibit? I really like how it is curated and the fact that it is possible to see work from different pathways. To see my work exhibited and people seeing it gives me a completely new feeling; First came the fear of people not liking it, but it is extremely rewarding when people complemented my work.
What grabbed my attention the most at the exhibit? I was attracted to selective works from different pathways but I was drawn to the jewellery section. Why the jewellery took all my attention? When I was reading the description of each work I was getting chills in the body because jewellery is filled with emotion, and the fact that a small piece of a whole outfit might be the most meaningful for a person made me reconsider the important of the accessories. This also relates to my last project, which has been personal and loaded with meanings. Do I want to create just under a meaning? I realised that when I developed this last project I was trying to connect EVERYTHING that I was doing in my project. Is meaningful creation positive or negative? Creating under a meaning might be powerful as it makes an outcome cohesive, whereas, it also takes more time and I think that it limits experimentation as not always is possible to link every material or technique with a meaning.
Today I wrote my self-evaluation.
Today's talk about sustainability made me really consider my upcoming projects. I am going to analyse the the various factors that affect this last project.
- JAVIER: He is both the inspiration and the direct beneficiary of my project. It is a tribute to my friend because he suffered misunderstanding in his childhood and still a bit in his adulthood. On the contrary, I admire his passions and different way of thinking, which had inspired the project.
- TUTORS: Tutor's feedback have really influenced my work.
- FAMILY: My family helped me with the provision of resources to be able to develop this project.
- I crossed-genders because I was inspired by a "female" bridal garment, the veil. I developed something for my friend, a man but my garment can be worn by both female and male because of the oversized shape and space created between the body and garment.
- I didn't really develop my project in a healthy workplace considering that the carpet in my room is a
- I used the heat press machine from the studios, which gives a finishing impossible to achieve with a domestic iron.
- I used sewing machine
- I used knitting machine
- I had to work while studying before and during my project to be able to support the spending on materials, and the living in London. I reduced the amount of work to be able to focus on this project, which involved taking savings as funding.
- ECONOMY:hinking about how my project affects the local economy,
- SITE & SCALE
- I had physical boundaries when developing my project, as for primary research I had to go to Spain
- SOCIETY & CULTURE
- TIMESCALE: Hand made took me a long time.
- HEALTH & WELLBEING
- TRANSPORT & ACCESSIBILITY
- STAKEHOLDER ENGAGEMENT
- COMMUNITY & SOCIAL CAPITAL
- SUSTAINABLE BEHAVIOURS
- SOIL & LAND
- MATERIALS & RESOURCE CONSUMPTION:
- I bought more materials that I finally used which made me think about an alternative (up-cycling) to continue developing my project without expending in more materials.
- WASTE & MATERIAL CYCLE
- WATER CYCLE
- CLIMATE CHANGE
- AIR QUALITY
This afternoon I got back my sketchbook and garment from the exhibit. My sketchbook has been damage both in the inside and outside and I am going to fix it. Should I be annoyed or happy about the damaged sketchbook? I think that the damage means views, which I think is positive.
Today I am in Spain because I want to do a shooting with Javier at the weekend and I need to prepare everything in advanced. I am very annoyed to the fact that I have physical boundaries to properly finish the project. How can I express in the project the physical boundaries? I set interiour Levi's labels in the garment because I considered that the personality of the jeans was there. I had to check the garment in a luggage to take it to Spain. I am going to collage the label of my checked luggage (which has my name),with an illustration of Javier.
Today I have started to develop A2 portfolio sheets. How can I summarise my project in A2 sheets while not being repetitive? I wrote in the brief my willingness to do a video/fashion film with Javier but Jean Cocteau's sequence of images inspired me do this instead of a video. By capturing specific moments the communication might be stronger. and I am also able to set the sequence of images in the A2 sheets.
Today I created more textile samples for the portfolio sheets.
Today I got to my village in Spain and I was thinking where can I photograph Javier? Luckily, my parents' house here is surrounded by nature. I have walked around the house and I randomly found marble sinks in the middle of nature. This surrealism brought to my mind Annie Leibovitz’s Alice in Wonderland for Vogue shooting, where nature is contrasted with colour and fantasy.
This morning I had a blood test that inspired me to use blood in the shooting. When the doctor was extracting my blood, I visualised myself cutting my veins for this project but with a happy ending. I started the project a bit demotivated because I was rejected from CSM BAs, but I didn’t give up with the course and today I have positive feelings. I think I can fit in the sink and it has potential to use it as a bathtub full of blood.
Nature and the found elements are inspiring me to create a story to be tell with images. I have visualised in my mind the different sequence of pictures. How can I make visual the images I have in my mind? I am going to draw the scenes and organise them to make sense.
How can I make the sequence of images stronger? I am going to develop more textile samples as communication helpers. I ended up doing different fingerless gloves and a mask out of tulle.
Today, inspired by Elsa Schiaparelli's surrealistic gloves, I have embroidered black tulle to create a fingerless glove with self-harm scars on the wrist (made out of latex mixed with red acrylic paint and read beads), another glove embroidered with colourful threads and cord. I have also made a mask with eyes crying.
Javier is only available in the afternoon. How can I do the shooting while daylight?I have spent hours preparing the different settings and finding "attrezo" that help me to create the scenes ( ladders, fan, extension cables, mirror...).
In the afternoon, I have been shooting with Javier, which has been amazing. I wanted to transform Javier’s face to make him look like the illustrations of his face. How can I make Javier look like an illustration? Different options came to my mind (half paper with illustration/half real Javier, cut bits of the illustration and collage them with his real face…) but I decided to just paint his face with simple lines.
This course is the BA’s waiting room, but I haven’t been given a place to study a BA. Even thought, I am not going to give up and I am positive at this moment. How can I represent my feeling in this moment, here, today?The dualistic attribute of humans(mind/body) is something interesting because this project is both mind (reflection) and body-usage (development with hands).Inspired by Yves Klein's Anthropometries, I am going to use my body as a living brush because my body changes continuously, and today’s impression will represent my dualistic self at this moment.
I covered my breasts, stomach, arms and thighs with different colours because I want to represent hope with the bright colours. I transported my body onto the canvas, using my flesh as a brush. I chose my front body because I live attached to my female physical attributes.
Today I have been editing the pictures in my way back to London. How do I feel about the sequence of images? I am really surprised with the result as I find the pictures quite artistic. I think I have managed to communicate textiles and fashion across another media. I left very little space for improvisation in the shooting because I planned everything in advanced and I think that was key.
Today, I finally handed in the project for evaluation. I am fed up of this project because I have been seeing it since February and I just want to start a new one from zero.