1. Analyse at least five different methods/approaches
2. How might they be applied and used in your own subject specialism/practice?
3. What ethical considerations might you need to address?

Text based

Text based research is a way of gathering information through reading articles, books reference material, journals, all text based resources and theories that challenge or substantiate or coincide with the ideas of your own practice. To begin a reflection on what it is that drives your interests.

There has to be an emergent idea to begin this process, the initial thoughts are then carried and diverge into other areas of research to build a narrative for your own practice.

These texts can be from any discipline, theoretical debate, cultural phenomena or environmental or social factors that are of interest.

It is also a way of looking at past case studies that are relevant to your chosen subject specific research either in their applied theories or practice outcomes.

Artists that work in a similar way to your own current methods, have concepts of a mirrored narrative, have a research methodology that you wish to adopt to inform or enhance your own knowledge.

Using archival research to study past work

Some textual references may have great significance simply through generating a line of enquiry from a simple concept that then goes on to develop a new tangent of research.

For my subject specialism and practice, my text based research is a way of formulating my theories and interests. A way to absorb information that then substantiates the future methodologies.

By reading up on my relevant interests it will give me informed choices in terms of my practice.

– Studying the meanings and cultural or historical contexts of cloth and specific clothing such as corsetry, this will give me an informed choice of materials, colours and initiate exploration of garment design in relation to pattern cutting. Perhaps relate this to arcival study.

– Researching aspects of female identity within art in relation to sexual signifiers, social expectation and body confidence is an interest I would like to incorporate in my design practice that needs more research. Perhaps this could be linked to experiential aspect of clothing as art, also related to tactile sensations, pleasure, sensuality.

-As a means of justification for my practice, to embed a notion of revaluing fashion, why shouldn’t a couture garment have the elevated status of an artwork? Explore ways of exhibiting work that has functionality and conceptual theory. Look into aspects of documentation, media and display and visual artistry.

-Case study enquiry to relate my practice to other artists or designers, make comparisons, contrasts and challenge thought processes, and ensure aninnovative enquiry.

This mode of research is a way of collating and assimilation the concepts and theories of enquiry so that it becomes embeded in the thought processe when exploring the investigation through practice and becomes a subconscious informed way of working.

Investigation through practice

This type of methodology is where the practice itself is the research, the process of ‘doing’ to further enhance knowledge.

The research is through ‘practicing’ the art, design, craft or technique relevant to the subject are or in conjunction with the concept raised.  The emergence of the idea has to be developed through modes of enquiry, for example a textile artist may investigate mark making through forms of print or embroidery, working through techniques, styles and processes may bring up new areas to explore and develop or be dismissed as irrelevant and inappropriate. The findings can then be critically analysed and evaluated to enhance knowledge

This methodology is vital to my project and will take encompasses the following methodologies of Artistic research, design focused and Problem solving.

The primary reason for undertaking this study is to develop, assimilate and amalgamate my interests and modes of expression.

The text-based research is a way of absorbing information based on an emerging idea that will transpire to inform my practice. There are several ways I wish to investigate through practice. A return to artistic expression through drawing, ink work, photography underpinned with the concepts of interests in anatomy, physiology linked to tactile sensation, feminine cultural representation.

Experiments with translating this starting point into textile and fashion practice, intuitive decoration and problem solving through its translation into a 3d form through pattern cutting leading to a design process to make the idea a consciously informed body of Fashion pieces.

Artistic

The exploration of ideas in an artistic manner, to be viewed or experienced. So, this form of research can be in a myriad of forms, disciplines and actions, primary and secondary research. The process of making may exist wholly as the research itself or the expression of a concept through the direct making and experimentation, searching for new modes of expression.

So an artist will collate information by exploring the subject of study through, reading, observation, thought, discussion. Explore ways and processes to generate an idea to express in the artwork, such as using sketch books to gather images, write notes , sketches and samples, or to develop knowledge making through practice such as drawinfs paintings, photography or video making.and critical evaluation

This is ultimately an experiential form of research with the end product being to create a reaction from the viewer -pleasure, repulsion, inspiration, emotion through a mode of sel-expression, using ‘..sense, sensation and intuition as part of knowledge making.’[1]

The research may stand alone as method a but in an academic environment the difference of being an artist studying for your practice is informing your work with in-depth knowledge of your subject matter, your interpretation, experimentation and justification, to give an academic ‘framework’[2] to your practice, as cited by Jenny Hughes, to ‘.translate that (art research) into a knowledge out-come that can be shared’.

With this in mind, some time ago, I met an artist who produced beautiful paintings, layers and layers of abstract paint and texture, colour juxtapositions, collage, photography and it’s digital manipulation to create new work – their form of self-expression. The artwork had a chaotic instinctive approach of splattering paint, collaged imagery, drips and built-up texture, experimental and free yet with subliminal order, subconscious repetition and harmony – my words to describe the artwork. When questioned about their work – the self- taught artist had no words. This didn’t lesson the aesthetic value of the artwork but at this point, I realised the worth of my formal education in Contemporary Critical Theory whilst studying Textiles at Goldsmiths College – having an ability to provide a critical evaluation through observational and sensory analysis, of a work of art, either someone else’s or my own. Therefore, artistic research benefits and progresses to enhance knowledge through critical thinking.

In terms of my own practice my artistic research crosses th disciplines of,drawing, collage, photography, digital manipulation, print and embroidery.

With my text based research and visual research embedded in the thought process I wish to study the female form through my artwork, conscious of anatomical physiology, tactile sensation, exploring and developing mark-making, tonal photographic representation of the planes of the body. I wish to then process this imagery and apply it to the 2dimensional artistic research into a 3-dimensional expression through pattern cutting, using this medium in a sculptural way to create my fashion pieces.

Design focused

Design focused research has an end goal in mind and is a cyclical process of idea, development, production and then a return to iseas until the desired design out-come is achieved. [3]

If we think of the ‘double diamond’ design process that was used in the production of the Paxman Skull cap.

The product is the end focus – an object has to be produced and is the starting point, but many factors go into the design process, data analysis, materials exploration, technical factors, user interface, aesthetics, effectiveness amongst others.

So in this multidisciplinary focus ther is an overload of ideas and through trial and error, extensive testing, inquiry and analysis this overload is narrowed into focus to a prototype that has proved effective. The regeneration of ideas is then iniated to perfect the product, tweaking the design , materials, method of production and then ultimately launching this into a public realm for testing and analysis.

Design can also be approached with more artistry and conceptual theory.

This will apply to my own practice but still using a double diamond design process. My end focus is to produce a collection to show case my artistry and technical skill in the form of fashion pieces with an emphasis on pattern cutting.

This process will start with collating information from many lines of enquiry, theories concepts and [ractices used to develop artist research, practical experimentation through technical processes of the 2D to 3D element of pattern cutting which will involve processing artistic research into a formulated shape and designs but will also consider the cultural concepts of feminine sensual identity in the exploration of the seam detailing aspect, it’s element of suggestion and historical referencing to corsetry construction.

The fabric choices will involve some research into cultural significance of cloth, as I wish to use natural, more eco friendly sustainable materials in combination with re-purposing clothing and cloth and the challenges and inspiaration that  that will bring.

These multiple influences then need to narrow their focus and informed choices made before a final collection can then be realized. Following this then the next set of aesthetic processes will emerge. How to realise the experimental processes selected into a design, the processes needed to embellish decorate and embed the artistic research and to consider the experiential experience, tactile sensation and how the pieces need to be displayed.

Problem solving

As Gray and Malins state, in the world of art and design, visual thinking is paramount, to be able to imagine shapes, colours, strategies for making, mentally work through complex techniques. Even if this is done in an intuitive and instinctive way, experimenting with artistic processes needs vision and an ability to judge when something feels ‘right’.  Such as mark making for artistic purposes, through perhaps paint pencils or stitch, which one will give me the effect I have in my mind? Trial, error, experimentation, inquisitiveness and resourcefulness are all essential in th3e problem solving process.

Even though artists and designers often have a foresight and an ability to work through a process of making in their minds, sometimes it is necessary to work through this process to enable an imagining of the next logical step, taking one process at a time with methods to test and trial a concept or technique. In this journey the errors are often as important as the successes, critical evaluation and resourceful imagination pushing our to create alternat innovations to solve the problem.

The problem solving methodology can also be used in a more quantative and analytical manner such as in the Paxman cooling cap where anatomical data was studied and analysed in relation to skull shape in order to create a well fitting cap to maximise it’s effectiveness as a medical aid. I have also conducted a similar type of research into the fit of clothing in regard to creating a well fitting garment for women that have a DD+ bra size. This research can often yield surprising results, for example from my measuring of the women I knew with a larger than average bust I measured around the bust line and the under bust. From measuring approximately more than 20 women with a cup size ranging from DD to G, the numerical difference between these two. measurements was 20cm, with a minor variant of one centimetre either way. So in order to process this data, into a useful format of a prototype , further data research would need to be collected and factored in, such as torso length, bust point positioning, back size, chest size etc.

So through assessing our practice in relation to our desired goal or effect can then lead to further research and problem solving in an evolving series of processes.

As a designer artist, and a maker that uses 2D materials to create a 3D end product through pattern cutting, this problem-solving methodology is a major part of the design process. My working method has an experimental process that involves sketching of ideas, development, sampling, model making, technical research, searching for and collecting resources, finding appropriate materials, and producing trial prototypes in order to achieve the result of satisfaction.

For this MA the problem to solve is how to translate and develop my artistic work, concepts, theories and interests into a cohesive collection of Fashion pieces with an emphasis on Creative Pattern Cutting.

I am eager to get started to produce a body of artwork as a starting point, with an embedded thought process, derived from my text based research into my interests. Absorbing the collated information to enhance the artistic process.

This will then convert to a more technical and analytical process of problem solving to experiment with shape, texture, fabric manipulation, print, fabric molding, and challenges such as using sustainable methods of production, looking into re-purposing fabrics, found pieces and their coice limitations and how to incorporate this into my work.

My aim is to create an intrinsic way of working that continues and evolves as a coherent practice, to establish my place in the creative Industries as a designer artist.

[1] What is practice as research jenny hughes

[2] Practice as research, method@manchester

[3] Chapter3.2, p76, Gray, C., & Malins, J. (2004). Visualizing Research, a Guide to the Research Process in Art and Design. Ashgated Publishing Ltd..

Some of these Methodologies are quite obvious in terms of my practice  but follow a general order. Other methodologies I am unsure about due to whether they would be relevant to my end goal.

1. Text based
2. Artistic
3. Design Focused
4. Investigating through practice
5. Problem solving
6. Participatory?
7. Co-productive/ co-creative?

1. Reflect on your ways of working as a practitioner.

As a pattern cutter my normal method of working is quite literal – cutting up paper patterns to experiment with shape, fit and volume. Often used in an experimental way where I don’t stick to the conventional seam placement of side seams, straight panels or darts. I look at planes and contours of the body, manually cutting and sticking the paper pattern, exploring the relationship of the 2D pattern with the 3D form.

I also combine this with modelling and draping on the stand to create the correct shape and line. I use a lot of trial and error to make the shapes and contours. I like to use the seams as forms of decoration, unusual seam lines enhanced with contrasting textures, fabric shading or pattern.

Once the experimental stage is finalised, it is enjoyable to me to make very accurate and precise patterns, checking and re-checking seam lines, adding markings and notches for ease of production. This accuracy is vital as my pattern pieces quite often aren’t always a conventional, recognizable shape of a pattern piece.

2. Who are your key influences and sources of inspiration?

I mainly start with looking at the female form, silhouette, body planes and contours. This can either be through my own artistic endeavors of drawing and photography, a keen interest on physiology, developed through forms of meditation and exercise through yoga where the mind body connection is a key element of understanding musculature and physique. I am also interested in the sensory and sensual and this translates into the shape and line of the seams often with suggestive elements of a revealing nature.

The pattern cutting techniques themselves will often inspire me alongside, couture techniques and textile practices. A technical manual can give me a thirst to try a multitude of ideas taken to further extremes of experimentation with a view to creating a sculptural quality of garment.,

In this sense I also am inspired by other couture designers, particularly designers such as John Galliano whilst working at Christian Dior, garments with great impact, intense beauty and attention to detail, combining historical, cultural and contemporary aesthetics for his designs. The Christian Dior Exhibition at the Victoria and Albert museum in 2019 was an astonishing display of inspirational designs.

I am also motivated by the limitations of re-purposing fabrics. Odds an ends of beautiful fabrics that I have collected, found in charity shops or scraps of fabrics left over from other made garments. The challenge is something I like to push my creativity, trying to find a way to fit that shape into a garment pattern to create the desired effect.

I am also inspired by many artists, photography and architecture. Recently I went to see a Cecil Beaton exhibition with particular interest in his fashion photography. He often created his own backdrops to the models poses with an unusual use of props to fill the negative space of the subject, such as wrapping balloons in cellophane, the juxtaposition of the smooth curves of the balloons with the crinkled, reflective transparent nature of the cellophane givinf a glow to the image.

3. How would you describe your practice in relation to how you work?

My practice is an artistic way of working, developing the emergence of ideas with reflection and experimentation. Each new piece I make I would like to make another, developing the idea further. In a visual and sensory way I often sit and contemplate the ideas I am interested in developing, observing imagery, technical manuals, visual references of colour and shape, design details and fabrics and the materials to be used. The thinking and looking time enables me to absorb the references so that they can be drawn on to create the design ideas. In terms of shape, print and embellishment this is a very intuitive process, as the subconscious instinct of composition and shape allow the design to develop. This is a very creative way of working and I am often frustrated by the lack of time to emmerse myself into all the ideas I would like to explore.

4. What would you like to investigate/explore in your practice?

So many things!! One of my main reasons for studying for this MA is to have the opportunity to embrace this emmersion in this thinking, reflective, organic production of my artwork through fashion.

On a technical note I would like to experiment with avant garde pattern cutting techniques such as those displayed in the series of ’Pattern Magic’. These Japanese methods are sculptural and dynamic but often not that attractive – sometimes ‘fugly’!

The anatomical seam structure of corsetry also intrigues me, I would like to explore this further with reference to historical construction, anatomy and also the supportive element – corsetry doesn’t have to be uncomfortable but can actually make you feel supported and secure.

Artistically and scientifically exploring my interest in anatomy through drawing and photography skills in reference to the female form. I exp;ored this during my degree in Textiles at Goldsmiths but this wasn’t in terms of fashion but printed fabric. I would like to essentially pick up where I left off and translate this exploration into a combination of seam exploration, contouring, colour shading, the drawn stitch and use this as a base for embellishments.

Materialistically I would like to accumulate resources and methods for producing a couture garment using ethically sourced fabrics, Natural fibres of wool, linen, cotton and silk, use offcuts and found pre-used fabrics, up-cycled garments and materials, recycled beads, and using found objects such as coloured plastic cut on the laser cutter for sequins. Couture garments have traditionally extravagant in their use of fabric and resources, so to give them a more eco-friendly element without diminishing the skill, quality or beauty. And also as a way of ‘re-valueing fashion’. Clothes to be treasured not thrown away, but also having more uses, perhaps a couture garment that can be separated into different pieces and worn individually to prolong the wear and longevity which could carry on developing through my work.

Socio cultural context of fabrics and clothing is also a background interest the meaning behind fabric, garments, colours – this also relates to the mind-body connection in how all these elements can make us feel as the experiential wearer of the pieces.

The lectures we have been having, have also inspired me to look at the context of how my major project will be displayed and experienced. The interconnectivity of disciplines could be used to create a visual display where the use of place, lighting, visuals and sound to form an experiential piece would be a way of exploring the value of fashion and transcend the piece into functional art, form and function.

At this current time I feel I am on the upsurge of the double diamond design theory, many elements signposting my interests, my main concern is the constraints of time if I will have the time to explore these elements?!

: Re-visit your reading list and write a summary of the sources you have been looking at and why they link to your research/creative interests.

1. This article appeared when I was researching corsetry and as I am interested in the mind/body connection, this was possibly relevant to my area of study and also may be of interest to the topic for week 5 Art/Design and Science relations. [1]

‘ Brain signal changes of sensory cortex according to surface roughness of boneless corsets’[2]

This article was an in-depth scientific article which analysed the way the brain was stimulated  by varying textures and warmth of specific fabric constitutions using fMRI (functional Magnetic Resonance imaging) technology.

The objectivity of it’s scientific nature is not actually that relevant to my area of study but the article did highlight ‘the fact that tactile perception would be influenced by memory, personality, expectation and other psychological factors’[3].

With many technical control measures applied to the fabric related to thickness, stretch, temperature and humidity, I found it starting that the type of fabric used was not mentioned at all, i.e was the fabricsynthetic or man-made.

In conclusion, the smoother and cooler the fabric, the less the brain was stimulated.[4] Which was interesting as I would have expected that the pleasure related to a smoother surface would have generated more stimulation.

This article in it’s objective analysis raised more subjective questions for me. Would silk as opposed to wool have created a different result? Would the aspects of personality and expectation change how our brain is stimulated? Would an analysis of the pleasure centres of the brain be of more interest to me? So for future reference, psycho analysis and social and cultural context would be more relevant than a scientific approach.

On reflection, having slept on this, the finding of this report that smooth and cool fabrics have no stimulation in the somato sensory cortex of the brain perhaps a lack of stimulation is a pleasurable non-feeling, giving an elevated reference to the term a ‘second skin’. In terms of my own practice I would like to consider the feeling of my piecesas worn by the experiencer, a garment that is almost as considered on the interior as the exterior. As a lover of luxury linings in garments togive that added pleasure, this concept would fit well with the garments I would like to produce.

Key concept taken from this text;

Consider the tactile stimulation of the interior and feel of the garment against the skin in the experience of the wearer.

[1] Image from..

[2] Brain signal changes article

[3] Page 2

[4] Conclusion paragraph

Choose a research folio to analyse in relation to your own research

practice. Write a short blog entry on this.

Synthetic Spaces: The Digital Exploration of Three Sites in Huddersfield

Prof Nic Clear

I chose this research folio as I am interested in the abstraction and manipulation of an image and creating a new experience in an Aesthetic manner.

Using laser scanning to create a cloud point model which is usually used as a technical aid in the digital mapping of architecture, Prof Nic Clear produced an immersive representation of these images that were digitally transformed through abstract manipulation to build layers of imagery in conjunction with animation and sound. Culminating in an immersive exhibition that later went on to show in New Zzealand and China.

Initially I was daunted by the idea of a research folio, yet from reading this folio and others, the folios have a strong visual element and follow a simple formula to give an overview of the project concerned. I feel this would be a great way to document and display your work in an easily read format, accessible to all which can then be researched further if so desired.

The images are incredibly beautiful abstract compositions with glimpses of the transformed images of architecture to give contextual recognition. I found parallels with my printed Textiles produced on my BA in Textiles at Goldsmiths. In the early 1990’s this type of technology was not yet available but I used representations of my artwork; the human form explored though etchings, drawings and photography. From these images I created stencils, abstract sections of drawn lines, direct transferal of drawings onto a silk screen and also digital manipulation of photography through the layering process on photoshop. Then building up layers of print, overlapping procion print inks to create new forms and colours and an abstract design. Taking an initial direct image and manipulating it and layering into a new abstract form.

I would like to use this process again during my creative pattern cutting studies, taking representations of the body, pictoral, structural, tactile and conceptual and creating a new form of experiential work through fashion.

I am also interested in the immersive aspect of display and representation of the work as a way of experience the work, using light and space and sound, to be inside the artwork. Which for me would have an element of actually being able to experience wearing the extravagant artwork of a ball gown.

So this folio has given me some further reading to do, ‘Cognitive maps’ Jameson 1982 and Henri Lefebvre ‘ Production of space’.

The Barbara Hepworth symposium was interesting to see how artists reflected on the work of Barbara Hepworth within their own practice.

Emis’ notion of the importance of the void in relation to her wark which explored the elements of the cultural void created by museum displayed artefacts that have a dsplaced existence from their Cultural origins.

I also thought that Hepworths’ statement of having a ‘thinking left hand, explored by Eleanor, very interesting. Which hand do I feel with? As a practical and tactile person, constantly feeling and making, the skill in my right hand – does the left do the feeling? The major importance of touch within textile and fashion, being able to identify the  material content of fabric just through heightened sensitivity through years of experience touching cloth.

I particularly enjoyed the video of Elizabeth Price at the house of Stanley Picker. The video filmed the light infused geometry of the interior of this  immaculate modernist house. I am a fan of nmodernist interiors with their furniture with sculptural qualities, the use of materials like, class wood, metal and how the light flows through the space and reflects on these complementary surfaces. I also thought that the cinematoghraphy showed the interplay of the artefacts, their conscious placement adjacent to each other from differing artistic movements, contrasting yet complementary. Within this interior seemed to make each piece more beautiful in this context, the whole environment is greater than the sum of its parts. I lso thought the soundscape, music and graphics of the piece made this video an experiential art piece and loved the impact of the change of narrative to the concept of inhabiting and using the space with your own bodily functions, ‘make up to make love in’. a tantalizing notion to temporarily invading the space with your own lived experience – all based on the possible narrative behind the violet irredescent finger print on the glass like reflective surface of the Barbara Hepworth Sculpture.

This artpiece made me think about the importance of context when showing your work, how the environment can significantly alter your perception of a piece, how the viewr can change their perspective of what they have seen depending on experiential enjoyment – in terms of fashion, the difference between a garment hanging on a clothes rail or seen displayed or documented as an artpiece.

Also in conjunction with the soundscapes from Nowanda and her interest in the aural sensory phenomenon of AMSR, could I create a visually immersive experience of my work and how it is seen, experienced and displayed?

Had the induction to the print workshop which slowly retrieved, bit by bit, the knowledge and experience I gained during my time at Goldsmiths College University of London. I specialized in print using Procion dyes on silk as they bind to the fibres of natural fabrics rather than sit on the surface like the binder based printing inks. The fabric then retains its properties and with fabrics such as silk, retains it’s fluidity and sensuality. Very excited to have access to use these fascilities as a way on transposing the art of a body, obscured, manipulated and enhanced to be used in conjunction with the anatomy to be noted through pattern cut seams. Not a huge amount has changed but the addition of discharge dyes gives such a beautiful effect, such intense clear ink translucent colours that emulate the light refraction of precious stones! Although these are only really viable on synthetic fabrics and I was hoping to concentrate on using natural fibres. \synthetics could be used if the cloth is from a pre used garment, found objects perhaps or experiment with using the halfway house fabrics such as Viscose and Acetate? I also like the element of fixing creases and leaving an impression of something textured possibly? Molding the cloth. I am also greatly appreciating the Contemporary Critical Theory that we experienced as the written element of my Degree in Textiles at Goldsmiths. At the time I only managed to apply this to the written form, youth and inexperience meant I found it hard to apply this on a practical level. We were expected to have our ‘practice ‘ readily established, which is difficult without the back up of life experiences and self discovery of our aesthetic, physical and intellectual passions. Now I feel ready and driven to apply the writing and thoughts to manifest into my practice. After all isn’t the purpose of studying art to put words behind the visual?

I was quite daunted by the prospect of compiling a reading list as I thought ‘ just where do I start?’!

But after Rowan’s demonstration on summon using my search example of feminism and the nude it became clear with the use of technology there are so many ways to make your search so specific, there may not be a need to sift through many many books, articles and weblinks, that is a relief to be sure! My main concern is that I will have time to read them all.

https://huddersfield.brightspace.com/d2l/le/content/183666/viewContent/1132386/View

Watch the recording and write a blog entry. Discuss why you are particularly interested in this approach to happiness, health and wellbeing

I have chosen the cooling skull cap design project as this is most relevant to my area of study in Fashion. The Paxman cooling cap helps to reduce hair loss during chemotherapy.The research methods are user based, quite technical in terms of scientific research and analysis of anatomy and effectiveness, but aware of how your appearance can affect your mental well being in the form of the hair loss of this treatment. It is refreshing to see that mental health issues are being given such a priority for this life saving treatment. I am very interested in the psychology of fashion, how we feel in the clothes we wear, how this affects our self-esteem, confidence, sexuality, productivity, comfort and how we wish to express ourselves to others in terms of personality, age or status.

So this design process considers, comfort, fit, styling, colour and ease of use, all these aspects affect how we feel about the product and ourselves when we are using it. The cooling skull cap had very good results in the prevention of hair loss, the data of this research was collected through user based feedback on Google forms. To explore the aspect of well being through fashion will I need to conduct this kind of primary research? Mine would be based aspects of luxury, sensory. fitting and the value of fashion as a personal treasure or Art piece. An aspect of Re-valuing Fashion, is this just a way of validating my design and making process as ethical or a mode of thinking that we should adapt to reduce mass consumption and treat our clothing with more respect and covet a higher quality of garment such as a ball gown or wedding dress as it has the warm feeling of personal and social importance that affects our well being. As an example my step-daughter works behind the scenes at Selfridges and whenever I go to meet her I weave my way through the designer rails amongst garments with a very big price tag! I spend my time touching, feeling and studying these garments that have more attention to detail, innovative design, less concern with ‘cutting costs’ through design and the quality of the fabrics, their material content and technological advances is far superior to high street brands but also in terms of obtaining these fabrics alone to make your own styles is unlike anything available through wholesale manufacturers of fabric shops. How would we feel wearing this type of garment in comparison to a mass produced item? How would this affect our confidence, self esteem and wellbeing? Should clothing be an investment in wellbeing? Re-valued?

I would also like to consider the aspect of fit when it comes to well being. Through many years of teaching I know that a standard size does not exist. I help people to fit garments to their body shape. How different do we feel when we wear a well fitting garment? I don’t conform to a standard size being a tall 5ft 10 and war a G cup bra! When I wear a garment I have made for myself with support, a flattering style and a perfect fit, this improves my posture, stance, comfort and confidence and also is so much more flattering than anything that conforms to trends or is a standard shape and size found on the high street.

I also thought the ‘double diamond’ design process model. At present we are in the process of collecting our thoughts, desires and creative ideas together in the form of research in preparation for our next module ‘Subject specific research’. There are so many areas I wish to reflect on and these types of projects are fascinating and I would like to conduct some research into the sensory, cultural and psychology of fashion but musn’t lose sight of my initial aim to produce my own collection of designs that have explored my own creativity and reach my full potential, this is for my own wellbeing as a creative in this Industry. Perhaps we also have a responsibility to promote good design for the well being of our creative Industries in terms of emergence through the aesthetic design process. Re-value our designers and invest in their talent.