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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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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