Justin Cases and Sienna Galtry use waste yarn and pom-pom making to explore colour theories in First Year Textile Design Studio Structure

Pom-pom making in action with Phoebe Chen and Bianca Stewart (right)

The Australian Bureau of Statistics released an information paper in 2013 detailing the types of waste generated by Australians and how it is dealt with i.e. recovered domestically, exported or disposed of in Australian landfill sites. The report classified textiles and leathers as being ‘inseparable / unknown waste’ and therefore too difficult and costly to recover. As a result 501,000 tonnes…of leather and textiles were sent to landfill between 2009 and 2010.

The issue of textile waste is a global one. In the 2017 edition of How to be a Fashion Revolutionary a suite of alarming statistics were shared. “Last year, the world bought 73 million tons of textiles, yet only 20% are recycled each year…around 350,000 tonnes of used clothes go to landfill in the UK every year”.

The Textile Industry is working on a range of measures across design, manufacturing, science and technology to eliminate waste – in the meantime we (the designers and users of textiles) need to be considerate of our material choices – questioning the origin and processing of fibres / fabrics as well as methods for end of life.  Check out the Lateline interview with Clara Vuletich and Clare Press for some innovative ideas.

We are keen to make good use of our waste yarn, so if you have any ideas / projects send them through to emma.lynas@rmit.edu.au, after all, “Waste is only waste if you waste it” (Will.i.am)

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Centre of Attention

“I wish to be the centre of attention in the laneway of Centre Place” – Lauren Stringini

Concept illustrations and photograph of Centre Place by Lauren Stringini.

Like many of Melbourne’s city laneways, Centre Place is a popular tourist attraction.  Decorated with ever changing street art and filled with the rich, comforting smell of fresh coffee, Centre Place is the place to be.

This jacket is a representation of the structural skills and design knowledge acquired over the semester in Textile Design Studio Structure.  “Design is understood as a means of responding to human need” (Erlhoff & Marshall, 2008) – this jacket appeals to my search for self-actualization through the creation of a unique personal aesthetic.  

A plush tactile collar consisting of various sized hand made pom poms and three layers of knitted, fringed and tasselled textiles – all hand stitched onto a second hand jacket.

Self-actualization is positioned fifth on Maslow’s hierarchy of need and refers to a person’s need to achieve self-fulfilment and personal growth, and often translates into an aesthetic form. This aesthetic defies the modernist view of ornamentation as vulgar and unnecessary (Erlhoff & Marshall, 2008).  The deliberate gradation of colour aims to disrupt the train of thought of onlookers, whilst tassels, fringing, tubular knitting and pom poms evoke a need to touch – ensuring a second glance from passers by.

Lauren Stringini wearing her fabulous jacket in Melbourne’s Centre Place.

Erlhoff M. & Marshall T. (eds.). (2008) Design Dictionary.: Perspectives on Design Terminology., Basel, Birkhäuser.

Uplifted

By Emma Shepherd

Top left Liane Rossler, bottom left Ernesto Netto.  Photograph of Cathedral Arcade and concept sketch by Emma Shepherd.

Inspired by Ernesto Netto and Liane Rossler, the work employs a combination of traditional and non-traditional materials and techniques.

Materials and processes – from top left; loom weaving, laser cut mirrored disks, assembling, colour palette development, making moulded tissue paper vessels.

Suspended by hand woven tubes, these translucent vessels encourage pause and reflection. Melbourne’s Cathedral Arcade under the Nicholas building is a place of detailed ornamentation. But how many of us take the time to look, appreciate and admire this iconic piece of local architecture? Positioned slightly above waist height, the hand made vessels encourage people to peer in and view the beauty of the led light ceiling reflected in the mirrored disks.

Photoshop simulation in situ at Cathedral Arcade by Emma Shepherd.

Both project are on display at RMIT Brunswick (at the entrance of building 513) until the 20th of December 2016.

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Vic is the designer behind the homewares label Bind | Fold.  Vic uses traditional techniques and natural indigo to dye her small range of bedding and kitchen textiles available through Etsy.  In her spare time, she knits – A lot!  Vic has very generously offered RMIT fashion and textiles students 15% off any workshop bookings – valid until the end of February 2017.  Students can register on the website Bind | Fold using the code ILOVERMIT.  Students will need to present their student card at the start of workshops.

Photo by Annette O’Brien for The Design Files.

We asked Vic to answer a few questions about why she decided to embark on a three year BA textile design degree at RMIT.

Tell me a little bit about your background – how did you come to textiles and where has it led you?

I’ve always been interested in visual arts, and studied photography at SCA just out of high school in the late 90’s.  I didn’t pursue a creative career and ended up working in IT until 2010 – when I finished work to start a family.  It was when I was at home with a newborn that I really returned to being creative.  I taught myself how to sew and knit, and wanted to design my own printed textiles, but somehow started out dyeing fabric first!  One thing led to another and I started my own label called Bind | Fold where I work mostly with natural indigo to create homewares and accessories using different surface design techniques.

What led you to study textile design at RMIT?

I’ve had the pleasure of meeting a few past students and their work was always incredibly impressive, so I knew I had to come to RMIT and do the BATD myself.  Ever since I heard I could get a degree in knitting it’s been on my mind, and with my son now at school, I thought “why not?”

What is your career dream or goal when you graduate?

It’s really hard to say!  There are just so many things I am interested in.  I’d love to design over the top knitwear, as well as everyday knitwear, but I quite like the idea of working in costume design too!  I’m also quite keen to see the Australian textile industry return to manufacturing at home too, so working with companies to get that happening would be interesting, and no doubt rewarding.

What role do you think design will play in the future? What are its potentials and its challenges?

I think textile design has the potential to change lives, both on a personal and a social level.  We (as designers) have a responsibility to seek out and / or establish ethical supply chains that work within the planet’s finite resources.  Understanding where a fabric has come from; where it was grown etc., is in my mind, a really important step towards the sustainable and ethical production of all textiles.

Feature Image: Portrait photo by Sean Fennessy for The Design Files 

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Lisa heads up the studio side of things – observational drawing, mark making, colour palette research and development, painting techniques, repeat methods, brand and market research etc, whilst Jason teaches the process of translating this hand developed 2D artwork onto film, then screen and finally fabric.

Students begin the 12 week project by selecting an existing brand to design for. This brand forms the starting point for both primary and secondary research in the form of; contemporary trends specific to the market / brand identity, colour palette development, motif exploration and repeat appropriateness.

The design outcomes for each student included a series of hand painted artworks in industry specific repeats, technically accurate (and beautiful) lengths of hand printed fabric, digitally printed and manipulated (through the use of heat and laser etching / cutting) fabrics plus a range of detailed and delicate embroidery techniques.  The outcomes are incredibly impressive and demonstrate a strong emergent talent in the area of print and surface design.

Image: project by Olivia Reinbold

Image: project by Grace Leask

Image: project by Gena Harold

Image: project by Caro Pattle

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This BIG project was initiated by our very own Luise Adams who successfully secured funding from the Government Department of Economic Development, Jobs, Transport & Resources as part of the future designers program in order to facilitate our collaboration with Araluen and Frankie & Swiss.

Araluen is a not-for-profit centre that provides accommodation and day services to individuals with disabilities across Melbourne’s north-eastern suburbs. Their well established Art at Araluen program provides clients with the opportunity to express themselves and build self confidence through the visual arts.

The Art Connects sponsor an artist initiative “furthers the goals and aspirations of Araluen’s Artists. Positive reaction to the work produced at Araluen led to the recognition that our artists have a role to play within the broader mainstream Arts community. “Art Connects” seeks funding from businesses of all sizes and individuals to ensure that artists with a high standard of skill receive the same opportunities and exposure as any other artist” (araluen.org).

Frankie & Swiss is a local boutique textile printing and design studio founded by sisters Michelle and Jacqui. With the help of their 2 tonne stainless steel digital textile printers – Florence and Florence the second, they can custom print onto a range of natural fabrics. They regularly collaborate with artists and designers and are committed to running a low impact sustainable practice that uses natural fabrics, non-toxic inks and engineered print processes that minimise waste. Our very own alumni Rachel McCarthy is the resident textile designer responsible for engineering artwork, repeat development and general design expertise.

In keeping with Frankie & Swiss’ mission to minimise waste, BATD and communication design students were asked to develop a product pitch using principles of zero waste patternmaking.  Students looked to contemporary fashion designers Holly McQuillan and Timo Rissanen for ideas and methods to develop their own product solutions.  The Helping Hand bag (aka bin bag) seen below, demonstrates the simple but effective layout of pattern pieces to eliminate textile waste.

Bin Bag product solution designed and developed by BATD students Xenia Alexander and Zoe Baulch and communication design student Annie Armstrong.  The concept was a unanimous choice by the industry judges and taken through to artwork placement, prototyping and production.

The original Florence in action, printing prototypes for the Helping Hand Bag.  Artwork above (red, orange and black) by Araluen Artist Tony Allan and BATD student Carol-Joy Pirie. The blue and white spot combination by Araluen Artist David Cotton and BATD student Nabila Kamarudin.

The BATD program has actively engaged with Industry for a very long time and more recently with the social enterprise sector. The ‘future designers program’ funding model seemed like an ideal opportunity to work with students from other disciplines, specifically; Bachelor of design (communication design) and Bachelor of business Intrapreneurship.

Students were presented with the first design challenge Phase 1: The immediate need – to develop products for Araluen to sell in the lead up to Christmas 2015. Students worked closely with Araluen to develop a range of designed artefacts and promotional collateral for both the artists (clients) and the broader organisation. The co-design approach and multidisciplinary studio resulted in a rich and varied collection of outcomes that both surprised and delighted staff and industry alike.

“At the beginning of the collaboration Araluen welcomed 40 BA Textile Design students to their Diamond Creek studio where students collaborated one-to-one with Araluen artists on art pieces that were re-worked into engineered prints and yardage repeats for digital print outcomes.  Branding strategy and an entire suite of supporting packaging and promotional materials were created by BD Communication students whilst BB Intrapreneurship students undertook the task of devising a plan to advise on the best route to market” (Bright Sparks Catalogue)  using the Big Issue ‘Big Idea’ competition to support their thinking.

Abbey Rich and Kylie Gentle collaborating on artwork engineered by Supinthorn Saengsukyen for the Happy Moment bag.

David Waterhouse and Mia Musset (our trusty project management representative) working in achromatic paint. This artwork was scanned and manipulated by Mia in Adobe Photoshop to create yardage, available to purchase via the Frankie & Swiss design library in early December.

 Left: The Happy Moment bag featuring artwork by Huw McCredie (pictured) and Lien Tran, modelled by the lovely Lauren Miller.  Right: Kylie Gentle is off the races with her Happy Moment bag featuring artwork developed by Supinthorn Saengsukyen, Abbey Rich and Kylie herself.  Image Credit: Lara Hynes.

If you are free next Thursday, join us for the Bright Sparks launch, details in invite below, we would love to see you there!

Hero image: BATD students visit Araluen Artists for a collaborative art making workshop.

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Students were required to create three communication boards to explain their; theme, process and outcome, some of which can be seen below.

(Image above: Jack Fillmore, Abyssal Undulation)

Human Decode is a collection of experimental textiles by Hsiang-Lin Kuo (currently on exchange from Taiwan).  Hsiang-Lin used the illustrations of Katie Scott as a source of inspiration, her finished work (seen directly above) embedded embroidery and knit samples into a silicone bodice, delicately protected by a thin layer of white organza.

Rose Goodchild produced a kinetic / auditory collection of accessories inspired by the Bjark Ingels group of architects.

Centre Court by Olympia Palioportas explored both line, form and texture associated with the tennis court. Her interpretation into crocheted and beaded neckpieces demonstrates great technical skill and design translation.

Brute Force by Inneka Moorhouse uses clever methods of modularity to create an overwhelming shoulder piece.  The knitted sleeve provides a softer interpretation of brutalist architecture.

Enfold in the quiet was a reflective exploration into warmth and comfort by Georgina Wish-Wilson.  The process of felting was a new technique for Georgie, and one that she used to great effect in both the bag and cap.

White Man in a Hole by Daisy Wellington was inspired by DIY opal miners living in and around Cooper Pedy.  Her conceptual approach lead to a utilitarian outcome, with the two bags made from ad hoc hardware materials such as copper-wire, washers, paper, cable-ties and plastic.

Keep an eye out for the next post on the equivalent print related course, Textile Design – Surface.

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The brief included 2 phases. Phase 1: The immediate need – develop products for Araluen to sell in the lead up to Christmas 2015 (post to come) and Phase 2: The long term need….

At the beginning of the semester we didn’t have a clear idea on what this might be.  After some initial research we discovered that there was an opportunity for us to explore sensory textiles and their application to interior spaces for adults on the autism spectrum.  After reading a fantastic article by Gaudian et al titled “A designer’s approach: how can autistic adults with learning disabilities be involved in the design process?” students began to use their textile design skills to explore the six sensory systems of touch, sight, sound, smell, vestibulation and proprioception specific to hyper-sensitivity (i.e., being overly sensitive) and hypo-sensitivity (i.e., a lack of sensitivity).  The project encouraged students to experiment with materials and techniques and to speculate on how they could be used to stimulate or calm individuals on the autism spectrum.

Karen Tytler from AMAZE (Autism Victoria) generously provided her time and expertise giving students an indication of what it might be like for people who experience hyper or hypo sensitivity to stimulus.  She shared a very moving documentary titled spectrospective: stories of autism which provided first and second hand accounts of living with autism.

Image: Araluen’s Helen Ryan and Karla Birch meet with BATD student Maria Dare to discuss her collection of brightly coloured 3D croquis.

In the time since students have been working individually and collaboratively to develop croquis using both analogue and digital techniques. Overall the project provided textile students with a different way of working, guided by intuition and play rather than trends and market segments.

Image: collection of sensory croquis by second year BATD students

Gabby Draffen: sensory croquis concept for flooring.  Image credit: Gabby Draffen.

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