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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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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Textile Designer Edith Barrett – all images courtesy the designer

Previously featured on the blog whilst still a student for her Pinkey Square collaborations and other extra curricular activities, Edith has certainly carved out a niche for herself in the couple of years since she officially joined the Australian textile and fashion industry.  Joining the team at Longina Phillips in Sydney soon after graduating in 2013, Edith has managed to balance her individual creative practice with the demands of working in one of the industry’s most prolific and high profile studios.

Edith very kindly took time out from an increasingly busy schedule to share her story with us:

Fossick by Edith Barrett

Textile designer, Illustrator and fossicker. Stirred by all things botanical and Australian. Sydney based, with one toe in Hobart and the other in Melbourne.

What is your current role? 

I am currently a Textile Designer at Sydney print design studio, Longina Phillips. I have also been working on some personal design projects outside of work also including a new range of silk headscarves, Fossick. A project that developed from collecting and sketching in the Blue Mountains and Sydney surrounds to create little wearable head museums!

‘King Protea and All His Friends’ – a design from the Fossick collection by Edith Barrett – image courtesy the designer

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

I have had an interest in the natural world, collecting and drawing specimens from when I was a little tacker. Excited by the new life and purpose illustrations have when transferred to fabric I studied Textile Design at RMIT in Melbourne, majoring in screen printed textiles. I travelled to Estonia for a study exchange where I completed hands-on field studies  at the EKA Art Academy. Secluded in an unfamiliar and exciting new world, I had more time and greater freedom to explore my own style there. Post- graduation I moved to Sydney to work at Longina Phillips and relished weekend opportunities to scout the abundance of new flora for me around Sydney.

What does a typical working day involve?

Part one, a bike ride to work, painting/drawing/designing textile prints at Longina, a ride home. Part two, a night of drawing and pottering on personal projects at home with jazz in my ears and mint slice in easy reach!

Edith at work – image courtesy the designer

Are there particular artists or designers you admire? What is it about them that you admire?

A huge point of inspiration for me is the intrepid paintings and etchings commissioned by explorers and naturalists way back in the day. I have always been drawn to cabinets of curiosities and the more scientific side of botanical illustrations – The life work and dedication of Margeret Flockton, Marianne North and the vast collections of Albertus Seba. I also admire people that are still alive! The work of Sydney artist Caitlin Shearer, banksia veteran Celia Rosser and Russian designer Lesia Paramonova.

How do you stay inspired?

I am constantly inspired, its more having the time to get all my bits and pieces out of my head and into something real. Physical place is what inspires me the most, and a change in scene or a landscape full of new treats to draw always gets my pen twitching!

What are you looking forward to?

There are lots of exciting collaborations on the way. I am teaming up with an talented bunch of textile designers mostly RMIT graduates also, for an exhibition called Sans Souci – An abstract and humorous reimagining of classic travel souvenirs & iconic Australian products. I am also looking forward to a project with emerging label Collie Park Design, Club of Odd Volumes and to finalizing the installation some Australiana wallpapers I have designed. And then…more explorations prints, scarves, and hopefully, some time to work on building The Bush Museum.

For more information on Edith’s adventures, and to purchase from her collections, check out her website: www.edithrewa.com or find her on Instagram

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Country Road’s Creative Director Sophie Holt provides the narration, talking about the process of collaboration with the students via masterclasses, studio visits and the final award selection and presentation.
It’s great to see our alumni Bree, Rachel and Ariel flying the flag so well for us, and the praise for overall winner Megan McNeill’s work!

Check out the good news story here or on YouTube to share with your friends…

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Today, The Design Files have featured the Full Drop Co. – a collective comprised of some of BATD’s very own final year students – Ella Schwartz, Elise Cakebread, Lani Sommer, Megan McNeill, Sophie Curtain & Yolanda Zarins. Three knitters + three printers = an amazing collaborative force!

The Full Drop Co. – photo – Sean Fennessy for thedesignfiles.net

(L) Fabrics for Thompson & Worth by Yolanda Zarins, (R) Full Drop Co. Shape & Staple zine and notebooks – photo – Sean Fennessy for thedesignfiles.net

The Full Drop Co. have really started things rolling – with a product range including fabrics for Thompson & Worth, the Shape & Staple zine available at Parts & Crafts, teatowels available at Dagmar Rousset & Harvest Storeroom. Not to mention their upcoming graduate show in December and a residency lined up at Harvest for the new year!
 

The Full Drop Co.’s Shape & Staple zine- Image courtesy of the Full Drop Co.

The Full Drop Co.’s notebooks – Image courtesy of the Full Drop Co.

Here’s the Full Drop Co. lowdown:

Full Drop Co. is a group of six textile design students in our final year of study at RMIT (BA Textile Design). All great friends, they share a love of colour, print, pattern and texture. The collective is comprised of three screen printers and three knitters. Full Drop Co. say that working as a collective allows them to share their knowledge as well as ideas across our range of skills and disciplines.

With their great website, the collective is a great platform for the girls to share and promote their work and ideas, while working both collaboratively and independently as illustrators, makers and multi-disciplinary designers.

All we can say is – watch this space…..

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$25 contact patricia.brien@rmit.edu.au

See the full schedule of workshops here:

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The multi-stripe magenta scarf that started it all – image courtesy Lucy Hall

The whole range – image courtesy The Design Files, Emily Green & Lucy Hall

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