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BATD Fashion Revolution 2017

Emma Lynas — Wed, 03 May 2017 06:48:25 +0000

As part of this year’s Fashion Revolution Week first year Textile Design Studio Structure students shared their pom-pom making skills in a workshop held on campus. We had students from a range of courses drop in to make their very own pom-pom using waste yarn sourced from the knit and weave workshops. The outcomes were fantastic – furry, fluffy, bright and weird! We made a small dent in the pile of waste yarn – but are keen to do more.

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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Araluen: a project with people for people

Emma Lynas — Wed, 25 Nov 2015 23:11:30 +0000

As promised, to follow is a sneak preview of the Araluen Phase 1 project prior to next week’s launch – we would love to see you there, details at the bottom of post.

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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BATD Alumni – Edith Barrett

Claire Beale — Wed, 08 Apr 2015 00:48:54 +0000

Today, we proudly feature on the blog another of our fabulous alumni who’s going from strength to strength (even The Design Files agrees!) – we’re profiling Edith Barrett.

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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In conversation with Grace Leong, BA Textile Design

RMIT — Fri, 06 Jun 2014 05:24:00 +0000

Grace Leong is a BA Textile Design student who joined us mid year in 2013.

She has immersed herself in our course and it has been a pleasure to have her on the program. She is now leaving us (hopefully just for a short while) to pursue an exciting job opportunity in Guatemala that is not just about design, but also working with an organisation that incorporates social justice as a key priority.

This closely aligns with RMIT’s core graduate attributes where students are engaged in learning that is global in outlook and is culturally and socially aware. We look forward to touching base with her in the next 12 months to hear about her experiences.

Here are some Q and A’s from our conversation with Grace (Interviewer: Luise Adams)

What is the position and organization and how did you hear about the job?

Essentially, it was pure luck! I always had ambitions to live and work in a developing country in Latin America and, after some late night online browsing, I discovered a job-listing site called idealist.org. The site is a wonderful global resource for those seeking employment and volunteer opportunities with a social conscience.

When I read the job specifications for the position I had to pinch myself because I could not believe that I had just stumbled upon my dream job! It is a marketing and graphic design role, working with indigenous textile artisans in the highlands of Guatemala.

The company is called Mercado Global,and it makes a truly inspiring and significant impact on the lives of these communities by providing education, and connecting them with international retailers, thus alleviating some of the pressures of trading in saturated local markets.

Nearly 100% of the artisans involved in the organization are able to send their children to school, have access to water and electricity, and the quantity of food available in the communities has nearly doubled since the establishment of the organisation.

In a country where poverty is so rife, these figures are pretty impressive.

Image: http://www.globalgiving.org/projects/scholarships-for-rural-guatemalan-women/

What was the application process? Did you have to submit photographs as well as a CV?

The application process involved a series of Skype interviews, and a graphic design based project where I was required to design a teaser page that would be used as marketing collateral for international retailers.

What are you hoping to experience while you are there?

This will undoubtedly be an exceptionally enriching experience – spiritually, culturally and technically. I hope to completely immerse myself in the Guatemalan culture, work closely with indigenous communities, learn complex weave techniques on back strap and foot looms and utilize the skills I gained from the BA Textile Design course in a commercial setting to help sustain the work and livelihood of these artisan workers.

What are you hoping to contribute?

My goal is to bring fresh energy and a contemporary design approach to engage with potential consumers. My background is in Marketing, having completed a Bachelor of Commerce at Melbourne University in 2009, and worked for a number of large-scale organisations in this field. I believe this experience will be invaluable in promoting the incredible textile work of the artisans, and helping to sustain a traditional art form that is at the risk of extinction due to industrialisation.

What will a typical working day involve?

My role reports directly to the Creative Director and will be heavily graphic design based. I will be responsible for managing the brand aesthetic through design, graphics, packaging, lookbook development, and social media promotion. Another part of the position will involve visiting the local communities to source engaging collateral for promotional purposes.

How will you stay inspired?

The city that I will be moving to, Panajachel, rests on the bank of Lake Atitlan, one of the most gorgeous natural wonders of Latin America. Surrounding the lake are three volcanoes, and I’ve been told that the view literally takes your breath away! Hiking trips through the jungle to visit unearthed ruins, trawling through local crafts markets and socializing with local artisans are all but some of the activities I hope to do to stay inspired.

Image: http://commons.wikimedia.org/wiki/File:Volcanoes_at_Lake_Atitlan_2.jpg

What will you take out of your Textile Design training?

Considering a large part of the role will involve computer based graphic work, the skills I learnt in CAD classes will come into great use. Photoshop and Illustrator will be the two programs I will be using most frequently. In addition, the artisans predominantly work with back strap and foot looms, therefore knowledge of weaving processes will be very beneficial when discussing potential designs with the Creative Director.

Is this tied to a career dream or goal?

Having worked in large-scale commercial organisations in the past, I was sure that I could never return to that way of life. Sitting in front of a computer all day, everyday, marketing products I felt little connection with, made me completely disillusioned with corporate life, and it took a year-long backpacking adventure around Latin America in 2013 to make me realize that I had to pursue a more creative approach in my career. This role in Guatemala synergizes every facet of my past experience and undying passions – marketing, textiles and social work.

What are you expecting from the cultural/political context? Challenges/opportunities?

As I mentioned previously, I travelled quite extensively through Latin America for a year over 2012 – 2013, so I am aware of the extreme cultural differences that exist between that part of the world and Australia. Although I have never been to Guatemala before, I have done my research and am well aware that the social situation in the country is less than desirable. 75% of indigenous Guatemalans live below the poverty line, and 58% live in extreme poverty, which means that people are struggling to survive and crime is rampant. In addition, I have been told that the way of life is much slower than Western cultures, and I need to be prepared for things to take a little longer than expected. But despite all of this, I know that Guatemala is one of the most beautiful countries in the world. The natural landscape is absolutely majestic, with mountains, lakes, waterfalls, jungle terrain, ancient Mayan ruins and volcanoes all to be explored. Likewise the people are incredibly warm and gracious, and I am looking forward to assimilating in such a rich, unique culture.

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BATD Alumni – Rachel Black

RMIT — Fri, 26 Jul 2013 02:10:00 +0000

Continuing on in our Alumni series, today we catch up with the super talented (and super busy!) Rachel Black.

Rachel graduated from Textile Design in 2010 and after a dedicated retail stint began working for Australian Country Spinners as a pattern writer then transitioned into design and marketing. Thanks Rachel for squeezing us into your busy schedule!

Image: Rachel Black

What is your current role?

I am a design and marketing manager for Australian Country Spinners. We have various hand knitting brands including Patons, Cleckheaton, Panda and Shepherd. We manufacture our own yarn and create instructional patterns for handknitting and crochet. We design for women, men, kids, babies, homewares and even dogs!
Tell me a little bit about your background – how did you come to textiles and where has it led you?

I have always been creative, papier mache-ing or decoupaging everything in sight. I moved on to sewing and always thought I would study fashion. I began a marketing degree, travelled overseas and then realized that I needed to get creative again! Everything about Textile Design made sense. I love being able to construct fabrics whilst maintaining a link to the fashion world. What does a typical working day involve?

A speedy bike ride to work helps me wake up and prepare for the day. I generally try to dedicate 3 days a week to design with 2 days for marketing. Every day is a mix of jobs. I check emails first thing and slurp down a cup of tea. I post a pic or a link to the ACS Facebook page and check in with our designer Ann. I am often found measuring samples and preparing sketches on Illustrator. If I’m lucky I get to do some knitting to check a stitch or test how a cable looks. There is often an advertisement to prepare for print. I work very closely with our graphic designer Suzanne. We brainstorm copy and work together on layouts. A bit more designing, or a meeting, or running around organizing and then the day is over.

Image: Patons Modern Crochet book courtesy ACS

What are the rewards of your job/work?

I feel really lucky to have a job in knit. I work with an amazing team of people who have such a vast amount of knowledge. Having a team of very talented knitters to help me problem solve, fix holes in my jumpers and teach me to crochet is great. I am also really happy to be working with primary schools across the country on our Wool in Schools project and also with RMIT to help educate future knitters to sustain the industry.

How do you stay inspired?

I knit and crochet at home and always have multiple projects on the go. I stay connected with blogs, magazines and chat a lot with my creative buddies. I feel passionate about promoting the knitting industry and with so amazing people creating fabulous work it is pretty easy to stay inspired.

What did you take out of your Textile Design training?

My textile design training made me realize my strengths and gain the confidence to experiment. Having the opportunity to try different techniques and processes before specializing in knit was exactly what I needed. I came to realize that my brain works well in 3D concepts and construction processes. I learnt a broad range of skills that provided a framework with which to build my career. I wasn’t even able to hand knit when I applied for my job at ACS! My textile design background (and some dedicated hours watching youtube) meant that I could pick up hand knitting and secured a job in the industry.

Want to know more about Rachel’s work and the team at ACS? Check out the links:

Website
Blog
Facebook
Pinterest

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Guest blog: Annick in Como revisited

RMIT — Wed, 29 May 2013 07:00:00 +0000

Today’s guest posting comes from 2012 graduate Annick Akanni. As regular readers of the blog would be aware, Annick was the winner of the Fondazione Antonio Ratti International study workshop over the summer in 2011-12. (For more background on where it all began, read Annick’s posting).

Image: Annick Akanni

At the beginning of this year, Annick was invited back to Ratti Spa as the first Australian textile design graduate to complete a 6 month internship.

Annick recently reflected on her experience for the BATD blog:

Image: Como – Annick Akanni

Image: Local colour in Como – Annick Akanni

I would have never imagined straight after finishing my textile design degree I would end up in Italy again. I can’t believe how fast the year has gone already for me. I am back in a familiar place, with familiar surroundings but experiencing a whole new journey in the world of textile design – this amazing art.

Image: Local colour in Como – Annick Akanni

In the past 2 months I have been privileged enough to be the first young Australian textile design graduate to partake in a 6 month internship at Ratti Spa, Como Italy . Ratti Spa is one of the largest Textile & Silk Manufacturers in Italy with a really prestige name and status, so it is an honour. Although encountering a few struggles and hardship throughout the first month in this European town – I am now really comfortable and happy at my new temporary workplace and home.

Image: the workspaces at Ratti Spa, Como – Annick Akanni

In my time here I have been introduced to a team of experienced textile designers from all fields in the design industry. Most of who have had over 35 years of experience in the textile and print sector within Ratti and other major manufacturers in the Milan area. I have learnt and been taught so much by this talented group of designers and I am a welcomed part of their design studio team for this whole period – I even have my own table with my own brushes, paints, gouache etc.

Image: the workspaces at Ratti Spa, Como – Annick Akanni

During my time here so far, I have been mainly creating designs by hand, which I have absolutely enjoyed. I have created my own colour stories and themes too which have been inspired by Ratti’s endless archives and library of design books from all countries of the world. A few themes I have focused on are animal prints, stylized flowers, abstract geometrics, tree/bark/tropical, architecture and culture.

Image: Annick’s hand generated design concepts – Annick Akanni

Image: Detail of Annick’s hand generated design concepts – Annick Akanni

I have also been given the opportunity to create design ideas for some major fashion icons that we all admire. In my first weeks at Ratti I did some hand-generated mark-making for Christian Dior and more recently some hand-generated lace ideas for Valentino. I also did some design ideas for the American fashion market for a lady named Paola – and I saw one of my designs on fabric which was a great feeling and she took a few more of my ideas with her to New York to show her clients.

Image: Detail of Annick’s hand generated design concepts – Annick Akanni

I couldn’t actually believe it when my Design Manager asked me to do this, I was shocked and did my nervous laugh – but she just encouraged me and basically said ‘try and give it a shot, what have you got to lose it’s a great experience and you have a unique style and gift’.

I never dreamed of designing for such big names – so I’m grateful for this opportunity

Image: the Ratti Spa Textile Archives - Annick Akanni

In the next stage of my internship I will finally get to focus in the two departments that I find my inspiration the most – Weave (Jacquard) and Home Furnishings. I have been designing for fashion up until now, so I can’t wait for change. I’m looking forward to what’s installed for this part so I will be sure to keep you all posted and inspired.

Image: Annick in Como

Follow me on my tumblr blogor just be sure to check it out every once awhile– that way you all can experience this exciting journey with me and embrace the wonders of textiles and culture.

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Araluen: A Project with People for People

RMIT — Mon, 17 Dec 2012 03:59:00 +0000

Today’s post is brought to you by the second year projects powerhouse and regular contributors Emma Lynas and Luise Adams, discussing a new project for this year with Araluen:

A second year collaborative project – Thank you to Amanda Magnano and Tyson Stephens for putting together this blog post about the Araluen collaboration – Emma Lynas & Luise Adams

Trevor Oxley (Araluen Artist) & Karan Jones (BATD student)

The final CATD / Textile Studio project for 2012 was developed to give us a different kind of design experience and broaden our outlook on what a textile designer can do in the community.

The project started with an activity called ‘Meet Me In The Middle’, we were each partnered with an Araluen artist and given the freedom to paint, draw and collage without a formal brief. It was a unique and positive experience, allowing us to witness the artists in action, work alongside them and get to know them a little better over tea and biscuits. We used the artwork we created during the activity to develop pattern repeats and engineered designs suitable to be digitally printed, cut and sewn to create limited edition sets consisting of a tea towel and apron. Working with the Araluen artists allowed us to explore design practice in a more intuitive social way, devoid of commercial trends and financial implications.

After our studio experience, we were able to self nominate for management, production and media teams to bring our ideas into functional, usable and pleasurable products. Our project management team helped to troubleshoot any potential issues and arranged with the VET fashion program to use their facilities (a big thanks to Mandy, Sharon and Cherry for helping us out here). The prepress team worked closely with Janelle (our Technical Officer) to put the new digital printer through its paces. The printed linen was passed onto the production team to be marked, cut, sewn and ironed into the final product. Meanwhile, the packaging team printed and put together 4 different types of packaging for the apron and tea towel sets. Throughout this process the media team took photos and video for marketing purposes and the BATD blog.

Compared to other projects, this one focused more on the experience of design and opened our eyes to other career opportunities outside of the commercial sector. The project was also a great way to bring the class together to brainstorm, develop a concept, prototype and make the product.

Araluen Video created by Amanda Magnano

Based on the number of offers we have had to purchase the aprons and tea towels, we believe the project has been a great success. The gift packs were kept under strict lock and key until the official presentation at Araulen in mid December.

Emma Lynas, Santa, Lara Hynes (Araluen Art program manager), Luise Adams

Araluen plan to give the apron and tea towel sets to financial sponsors of their fabulous art connects program. Araluen have an online gallery featuring the artists latest work, click hereto find out more.

In addition to working with Araluen we explored the role of play in the design process. We were each given a scenario and asked to respond using video and photographs. Within minutes of commencing the play date, the studio was flowing with color, pattern and crazy ideas! This proved to be a great hit with elements of ‘play’ turning up in projects in other courses:

NYE Playdate – Karan Jones, Alana Costanzo, Alyssa Pyritz, Camilla Rogers, Janis Nah, Gabby Thomas, Eileen Braybrook

A group of talented textile design students were found without anything to wear to the “OMG how many patterns can you wear at any one time” New Years Eve party. They decided it would be best to trawl through their immaculate digital archives to locate their favorite patterns from first and second year. They each dressed up in plain light coloured clothes and sat for a series of portrait photos. The patterns were then simulated onto the photographs, no one really knows how, but the patterns stayed in place for 24 hours, allowing them to go to the party dressed on theme.

Unconventional convention – Tyson Stephens, Steph Rushworth, Stacey Wong, Camilla Stirling, Ilce Karamacoski, Lisa Doutsas, Sarah Hearne

A group of talented textile design students turned a pile of unwanted / unclaimed bits and bobs into the most extravagant headdresses to wear to the annual general meeting of shamans and witch doctors. Each student wore a different head dress in accordance to their tribes traditional colours and symbolic geometric patterning.

I dream of beastie – Liz Workman, Manna Ly, Laudianne Masri, Bree Ellett, Amanda Magnano, Nina Sepahpour

A group of talented textile design students were sitting around talking about this that and the other and started to discuss animal / human hybrids such as centaurs and Minotaur’s and 80’s cartoons such as The Wuzzles and Teenage Mutant Ninja Turtles. They began to wonder a textile designer / animal hybrid would look like?

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