Final hand in day. I can not believe I reached this day. The course was a great challenge and an unforgettable, amazing experience.



Last touches to workflow, sketchbooks and development pages.

As I said, I will not be able to create a lookbook for this project, because I have all the obligatory work to finish, but I decided to add another page to my unit 7 collection and this one is only for final photograohs, so it is quite like a digital lookbook. Obviously, it will not be printed out, but I am really glad I made it, because I think it shows the work better and in a more appropriate place - not on the research or reflection page. I have also added some images of final outcome to my sketchbook to showcase the work fully and in detail. I am planning to include the shoes I have made for the assesment too.

Final evalutaion is uploaded on workflow documents page.




Preparation of work for the assesment.

Portfolio Pages - I was quite confused about the content of these and the number. Basically every person I asked told me something different - that it either should be like for the UP or not, that there should be samples on them, or not. I decided to prepare them as if I was making them for UP but just by picking the elements of my work that definitelly informed my final outcome. So creating a very edited visual story with some research images, samples and line ups. The composition of these pages is quite similar to the ones I have done for my UP simply because I thought that this layout worked well and this time I had not much time to consider the layout that much.

I saw some other students and friends of mine making lookbooks for their work - I think it is a really great idea to showcase the work. I have not thought about it and I probably will not make it on time to have it, because this at this point of the work is a thing that is nice to have and not a must have. Although I definitelly learned something today - how to make a lookbook. Observing other students was very helpfull, because I realized how many elements have to be considered to create a good lookbook - the layout, the paper, the font, the size of the images, colours, cover etc. I will certainly do one for a next project, but for this one it is really impossible to make a good lookbook on time and have all the additional elements that are needed for the assesment.



Updating workflow research and reflection pages, annotations in second sketchbook.

Continuation of work for assesment - annotations took me longer than I thought they will because I wanted to be precise in them. I think I should not care too much about all details because the work is never done entierly, but I am always concerned about every detail. I should remember about it also when working in my sketchbook or on samples - I always want everything to be perfect but it won't ever be. The project is basically never done, there are always possibilities for further development.



Evaluation of the short plan I did for these last few days:

It is good that I have planned my work as if I had one day less, because I will need this one day. I have fulfilled the plan for 19.04 entierly but I have not managed to add annotations onto my research page yesterday, because I was still working on my sketchbook - it took me longer than I thought. It would be a pity if I would fall behind my schedule at the very end of the project after keeping up to date throughout it's whole duration so far so I definitelly have to work quicker. I have to keep in mind that there is a difference between what I have to d and what would be nice to have - not the priority is what I have to do. Tomorrow I have to finish annotating second sketchbook and then both sketchbooks will be ready. I will have only portfolio pages, annotations on workflow and final evaluation to do. It is a good lesson for me for the future not to leave the annotations for tha least minute - it takes longer than I thought.



Preparation of work for assesment.

Since I want to exhibit sketchbook I had to stitch all samples to the pages and clarify the the content - following the feedback from my last group crit - adding annotations on the pages, bibliographical references and clarifying layout. The sketchbook I want to exhibit is the first one , because it shows the whole process of figuring out the right topic and experimentation. It is fuller than the second sketchbook. I decided to exhibit my sketchbook instead of a set of samples because I thought that having the whole development process for my piece next to it would build a fuller view on it and showcase the potential of the work more than having just samples. That took quite long time as well and there is still a lot to do do I need to work quickly.

Stil to do:



-portfolio pages

Drop off of the garment - please note: the garmeent was stitched to the hanger due to it's fragile construction. Please do not remove the garment from the hanger.



Actual photoshoot.

Sketchbook work – annotations. My friend today helped me to figure out what do I really want to exhibit, because she told me to treat the exhibition as an opportunity for others to propose opportunities to me. This means I want to show how I develop my ideas and what potential there is in my work rather than only the final piece. That is why I decided to include my sketchbook instead of the collection of samples and a garment. I want to show a sketchbook and the final piece, because even if someone doesn’t like my garment entirely perhaps he would like my sketchbook and the development ideas there and contact me. That means though that I really need to annotate everything properly and stitch everything to the pages, because I do not want things to fall off when people will flick through the sketchbook. I think this is more thoughtfull way of displaying my work and should work better than just a germent and samples.

Own photoshoot. I could not go to any location because of the time that I lost because of the moved photoshoot so I had to rethink – how to show the idea of painting the air with just a simple location on a plain wall? I thought of the fringes and movement and how to capture the movement and how they paint the air. I thought of dynamic shilouettes and Stephen Cripps performances and this led me to the idea of a person jumping in my garment – this would make it move and I will capture the movement on a picture. So I did a photoshoot on a concrete wall. The concrete and it’s roughness reminded me slightly of the industrial elements that I had in my research, because of the fact that concrete is a material used in industrial buidings. This location was the best quickly found one that I could have, so I decided to do the photoshoot there and showcase my garment in this way. The surroundings and the pose would reflect my concept in a way too.

The photos though are blurry (of course because they are moved) so I will not use them for the exhibition. They will be just to put in my sketchbook. I think I could collage on them as well or add some mark making to them to make the floor look more interesting, though just slightly because the model is the main point.


Evaluation of this stage of the project:

What went well?

I am really glad that I manage to make my own photoshoot eventhough I could not find any remote location because of the reschedule of the studio shoot. I think it reflects my idea well – concrete showing the industrial references and the pose of the model showing the painting elements. I fulfil my schedule for today.

How can I move on from now?

Keep working on finishing sketchbook so that it is definitely ready for both assessment and the exhibition. Add annotations. Then come back to workflow and organize reflection (highlighting) and research (annotation and bibliography).



A short crit with the tutor just to asses what I have prepared for the photoshoot – the garment, the skirt and the shoes. The tutor I was seeing told me that the embroidery looks really well and detailed, that the skirt is making a good whole with the top and that only the shoes could be slightly distracting because the colour could be too dark. However, I want to try them on the model anyways for the photoshoot and see how they look like.

I did not get to make my photoshoot today because there was a delay and I was cancelled. This taught me to sign up earlier, in the middle of the day for the next time. Also, it was good that I had shoes to finish with me – I had to add last touches of fringes on the seam between both yarns and lucet on the back to add more of the element of painting to the shoes, so that they will paint the air as well. Therefore I haven’t wasted my time completely waiting for the shoot that did not took place after all.

I have also made action plan for the next few days which is uploaded below. I decided to plan everything one day shorter than I actually have – so as if I had one day less to make it less stressfull for me if I run out of time for something on the schedule.

Evaluation of this stage of the project:

What went well?

I have finished everything, the garment is ready, the shoes are ready and everything fits together. I think that the time management worked really well and I am satisfied that I managed to plan everything.

What did not go well?

The photoshoot, because it was cancelled. I wanted to make my own photoshoot tomorrow and preferably go to a place where lot of sky is visible, to showcase painting the air, but now I can see that it will not be possible because of today’s resechedule of the day. Initially I thought of finding a place like Nadav Kekar’s photographs but in London it is rather hard to find a place that remote, so I decided to try just a place where there is a lot of sky. I wanted to make a research for this location today after the photoshoot, but since it all was delayed and I could not leave on time I will have to rethink the concept for the photoshoot of my own and if I really need it. I would want to make it, as I always find it fuller to showcase the garment in an environment.

How can I move on from now?

Tomorrow do the photoshoot, print the images from there and come back to organizing workflow, sketchbooks and reflection. I need to add annotations so this is very important to do.



Adding weave to the nylon part was a good idea because it really joins the nylon collar more to the rest of the garment. Visually the nylon looks like it is a part of the whole piece, because it features same elements that are on the skirt. The nylon part though was woven by hand later on, because I did not know where the back will be exactly and how much of the weave should be there . It took me slightly longer thought than I thought it would so I had less time to prepare shoes.

However, I did majority of them today even without the eniter yarn. I had some problem with it because after I did one shoe I run out of yarn. I was sure I will have enough of it, as it was a whole ball, however I was wrong. To creatively overcome this problem I decided to use the rest of the yarn that was left from the first shoe also for the second one and then finish the second one with another yarn but add fringes on the seam to make it look like it was more planned and connected. This actually made the shoe look lighter because the other yarn is thinner. This makes the shoes even more connected to my whole piece because of this lightness that is now included in them. I am glad I had time to do them and that I managed to overcome the troubles because this makes me fully prepared for the photoshoot tomorrow. Meaning that I am keeping up with my plan and my time management is working.


1granary Article - reflection 
I am very pleased that my work has been chosen for the 1granary article. Seeing my work on a website in a written review of Foundation work in progress makes  me think that if I continue working with the work ethic that I have now and stay passionate about it I can really reach a lot. It's a great motivation for work not only now but also in the future. 
Seeing others work was very interesting too. The approaches to the project were so different that every person has developed a distinctively different approaches. 
I really liked the project of one of my friends who was subverting a suit to empower women. I found this idea particularly interesting because it is not a standard approach to women rights. I have seen the sketchbook for this project too and I think it has a lot of potential to develop. Also makes me think that perhaps I could try to undertake such a theme connected to feminity. It's obviously a topic I could relate to so it would be another challenge for me.


The embroidery is finished. I am very glad that I made it one time and that I listened to the advise from tutors and my fellow students to place merino in less condensed areas and add elements of different shades into it. I am also satisfied with the effect of silver bolt-circles and the elements of wire around them, because as I said before, they make a really powerfull statement in my opinion and this is what I want. Fashion basic is to make a statement. These elements are making it. 

I have started to make the collar – the nylon part is already attatched and the elastic is there. It works, so I do not need to come back to buttons. The nylon was long enough to cover the elastic, so I do not need to worry that it looks like a bra strap or soever. I think I will cover the back with the weave elements that my tutor told me to do just in case the elastic would be too visible on the pictures.

Skirt – seams and edge. I have finished the seams on the skirt. My tutor told me to use wool for that but when I placed wool over the seam it did not look good. The wool looked too heavy and distracting from fringes so I decided to use same yarn that I did for fringes and cover the seams with same techniques that I cover holes. This worked much better because the seams looked more connected to each other and did not distracted from fringes. For the upper edge I wanted to use nalbinding but since this would take me too long I decided to use crochet for that, simply because of the time. It looks similar to nalbinding and joins both pieces together but is simply quicker.

Eight Week of Unit Seven – Evaluation of this stage of the project:

What went well?

I have defined how to finish back part of the garment and I know how the piece will look like completely. I have figured out a very defined composition of embroidery and it works, so I know how to continue working and on what. In general the most important thing I had to do this week was to make. I am making, it all comes good together – elements of embroidery, fringes, merino, shades of yarns and wool. I am very focused on making now and I think it is good, because I have to make my piece on time. The time management now is working, because I am with my work where I was supposed to be on my schedule.

What did not go well?

I have not really faced major troubles this week when working. The only things that worry me are holes, that appear when  the nalbinding is weaker. I stitch a lot of them but I am afraid that they could appear when I hand the garment. I will have to stitch it to the hanger probably to prevent it from making holes. Important thing to fix are also annotations in my sketchbook and on workflow.

How can I move on from  now?

Keep making – embroidery, collar with elements of weave, shoes, colourfull fringes to the skirt and seams.


Embroidery – continuing of embroidery. Accidentally I placed a purple piece of dyed wool against one of the embroided circles and actually it looked really well, so I decided to include it. It is just in form of a tiny button, so it is not much. Also this purple tone is one of those that I did when I was researching for colours, so it relates to my colour palette as well. I thought it adds a little distraction to the composition but in a good way, making it less predictable and more intriguing. The shade of the purple also reminded me of the air pollution in it’s vibrant and a bit odd shade and therefore linked to the elements that started my thinking of industry polluting the aire and how to stop it.

Tones of merino were added today too, and this keeps me convinced that it was a good idea to include those tones as well. In the meantime there were some holes that appeared as well, so I had to stitch them. I kept using the techinique I had used before. I think it looks really well, because this makes the construction stable yet connected. They also add another textural element to the embroidery which enriches the surface.


Embroidery making. I started from making silver circular shapes that would show the bolts in my embroidery and therefore be a symbol of industrialization. It was really time consuming to make them, so this also reflects my idea of slow fashion. After I have done them I started to add merino wool but remembering yesterday’s feedback. I think when it is less condensed it makes it look really lighter and more like painted air really. This was a valuable feedback I got and following it gave a more painted – air like results. Also, as I was told to use more tonal elements – I decided to make some buttons in a pale pink tone of wool. This added another touch of colour the the embroidery and made it more detailed, which is good, because this enriches the texture. It also makes it slightly more playful which is fine, because the fringes are also playfull in a way. The piece doesn’t necessary need to be playful, but the topic is not a sad one either, so I do not mind if it would be pecieved like that.

However, a problem occurred – when adding embroidery there were holes that appeared. The nalbinding started to be weaker in some parts and I had to stitch it through these holes, just as I did before. However, I did not wanted to make those stitches random and not connected to the whole composition, so I was using yarns that I have chosen for embroidery and adding some merino wool into those holes too. This really made those parts included into the embroidery composition and they look as if they were ment to be there. I think this is a really good way to overcome this problem. I am afraid that more holes may occure also because the piece is heavy, so I will keep stitching them in this way to prevent from unravelling.

I added wire elements, as my tutor told me to do – it really looks good, because the element of industrialization is very much highlightet – once because of the circular shapes that resemble bolts and twice because of the wire placed just next to it. This makes it really a strong visual message.

Evaluation of this stage of the project:

What went well?

I cracked on with the embroidery and it goes quite quickly, actually quicker than I thought. The trouble are holes that take quite a bit of time to stitch back. However, I am still in my time plan so the time management works. Also, the wire and silver bolt-like elements look very powerfull when placed next to each other – I think the element of industrialization and machine made elements vs hand made elements (embroidery) is visible.

What did not go well?

Obviously the holes. Their appearing is not good, because they may destroy my piece. But I am going to stitch them securely. Hoefully this will work.

How can I move on from now?

Keep embroidering, then do the collar and shoes if I have time (now I think I will, but just in case some problems appear I will need to take my own shoes).


Crit. Asking for feedback on the embroidery – I was told it is a really successful composition but I should include less of condensed, blocky areas of strong colours, as this makes it slightly too heavy. That I should dissolve the blocks of merino or fringes a little bit and therefore make it lighter. Also to use more merino in one fringe but in different colurs, so I will have play of shades in one place. This would look more like splashes of paint, like Cy twombly’s paintings, elements of merino splashed around the embroidery in a free but organized way. I think this is a releveant feedback when I see it now. I did not thought that larger gatherings of merino could make it look heavier, so it was definitely helpful to listen to it. I will make it lighter and less condensed as I go with the embroidery. I have to start making it, as I have only four more days, so I will destruct those larger merino areas as I go and dissolve them around a little bit.

I was also thinking about what should I display. This time we had to bring all of our work but I cannot display both sketchbooks, samples and a garment. My group told me to display only samples and garment but I am not sure if the sketchbook is not a better idea. I think I will figure this out before hand in.

Below the hand-out we had to fill in again, the one that we got before the break too.


Group crit notes & feedback from the annotation workshop in the morning:

The most important element that lacks in my work is annotation. It should be annotated more in my sketchbook and on my workflow too. These are the elements that coud put me down. I know which elements I have to annotate, as I went through my both sketchbooks with my group. I have done the annotations while the crit but I know I have to come bak to them and make them look slightly neater. I do not want my sketchbook to look too messy, as the annotations won't be readable. When it comes to my research page on workflow - also annotations are needed. Below the pictures, as well as a bibliographical note at each block of pictures, as sometimes it looks slightly confusing (especialy at the beginning of my research). I could also add more spaces to the research page and highlite  the images as a groups more than it is done now. This would be made by the spaces betwee nthe pictures. When it comes to the research point on this formula - I got distinction from my group before, now I have a merit because of the lack of artists references in te second sketchbook. I will add some collages there to fix it.

This formula compared to my previous one is different - the grades are higher, I am closer to Distinction than I was before which is because I deepend my research and add more shilouette experimentation in my opinion. Although, some merits I got before were given to me because my group sasid that they do not know what should I have for distinction, which also could be the case. However, I know that I have to fix the annotations for sure and then it should be good.

I am satisfied with Merit as I was before, but I still aim for the best, so I will definitelly follow the crit feedback and add all annotations but after the photoshoot. I have to finish the garment before I fix my workflow and sketchbooks.

What an annotation is - prompts that tutors gave us:

- It is not simply descriptive but also evaluative

-Can be used to explore potential idaes/techniques/methods/etc.

-Annotate key images on Workflow point out what elements in your research are important, i.e. shape, colour etc.

-Reference research images on Workflow and in Sketchbooks

I will mostly need to add the bibliographical references and some annotations on techniques, as I was told by my group. I have to remember not to descride the pages, as this is what I tend to do.


Finished skirt - I decided to add another part of the skirt to eventually make the skirt too big, but at least for sure suitable. I can always pin it. My group told me today that I could add some colour fringes to the bottom. I will certainly do it, as this is also how my sample looked like before.

Embroidery planning. I decided to crack on with the embroidery today. I cut out simple circles from paper that would be referencing those from my embroidery design in sketchbook. I tried on two options (images of that are on research page) and I decided tto choose the one where the circles are placed in slightly more dynamic combination. I had to move them into a more diagonal composition due to the construction of the piece - if I want them to be visible I had to move them diagonally to the front.

Evaluation of this stage of the project:

What went well?

I got loads of feedback. I definitelly know what I have to do - embrodiery, annotations, bibliographical notes, finished back. I havee to remember not to make the embroidery too heavy and add more varied merino tones but in less condensed way. I have to add colourfull fringes to the skirt and finish the seams. I have to finish back part. I know how the embroidery will be placed on the piece so now it is the matter of making it. I want to take pictures of it while making and then make a gif moving. This is also what I saw during todays session on workflow of one of the other students. I think it will showcase the making process sucessfully whithout putting so many images of making on the research page.



Documentation of crit - the way my work was exhibited


I have made the experimentation (documentation in sketchbook) to figure out if I want to have the nylon over the sleeves or only as a collar. I think I will make it only as a collar, as when nylon is placed over the sleeves it hides the texture of nalbinding. One of my project aimes is to develop rich textures – nalbinding is a rich texture that represents the air with it’s structure – if I cover it with nylon it goes missing in a way and disappears and I do not like this effect at all. It hides the work I have done to make the nalbinding and I do not want to hide it, it is like hiding the crafts which are actually the main point of the piece so it will not make contextual sense at all. This would almost mean that I hide the craft (nalbinding) with industrialization (nylon) wwhich will not make much sense either if I aim to showcase crafts as a way of sustainable development of fashion. Therefore I want to leave the nylon part only as a collar. It looks lighter, so this showcases the idea of air more and somehow fuller in terms of shilouette composition when the nylon works as a collar.

Now I know how to approach the back – elastic between sleeves with a nylon collar instead of nylon over the sleeves. Having that done I will focus on the embroidery and do this first and then come back to finishing the construction  - this would make it easier for me to embroider. I have to crack on with that as I do not have much time to do it – the deadline is next week and my photoshoot is on 19th and I want to have my piece ready by this time.

Sketchbook work – figuring out the composition of the embroidery. To do that I started from sketchbook, as smaller, A3 page scale makes it easier for me to see how the pieces would look like. I looked back at the embroidery I had on the chosen design – a embroidery composition on the side with circles that represent bolts and the industrial elements in the context of my research. From that I developed few drawing ideas. Two of them are in my opinion the most successful ones – the last two. The first one is because on the details there – they are not overwhelming yet they are visible. The second one because of the composition – if the biggest circle is on the bottom of it, then it closes the composition and makes it fuller. Then the smaller parts added above look more like suspended in the air than when the composition is in any other direction.  Also important to note is that I decided to use the ideas for wool buttons that I had before to add more details to the embroidery and enrich the textures and also to reference the print elements in it – the wool buttons looked like bolts because of theirs shape.

I also had to choose right colour combination for the embroidery so I have chosen yarns from my previous yarn  research that I would use. I decided to include a bigger variety in order to reference all colours from my chosen colour scheme and capture the idea of painting – so having many different shades and tones, which is also hat my tutor told me to do. The composition of colurs I have chosen is the seventh one on the order of my page in sketchbook. I decided to choose this one because I think that the colour combination there is the lightest one, so it showcases the lightness of air yet all the colours are included. I remember my tutor telling me to be carefull with the amount of darker shades that I use and to use more wire. This composition has less of darker tones and has more wire, so it showcases the freshness and fragility of painted air yet there is a lot of wire that represents the industrialization parts. The fringing around shows the tension between hand made and machine made – like clashes, explosions of tension that occure when two juxtaposed elements are placed together, like Stephen Cripps did it in his work. The fringes are more organized in that way too and are not tribal. Therefore I have chosen this composition to transfer onto a bigger paper sample to have it for crit tomorrow. I need to ask my tutor or classmates if they agree with me that the colour for this one works best and if I should add any more wire.

Evaluation of this stage of the project:

What went well?

I have figured out both the approach to the back and to the embroidery. I have found a way to solve both elements of my garment in a way that showcases my aims for the project – the back being open and lighter is more interfering with the space around, reveals the body from underneath and therefore paints the air; the embroidery chosen has a light yet vibrant and colourfull composition with fringes that would also paint the air. Now I am ready for tomorrows crit and I have final ideas to showcase. If this would be approved and I would not need to add any changes I will be able to focus only on making and have the garment ready.

How can I move on from now?

Ask for feedback and start final embroidery making. Prepare everything for the photoshoot on 18th.


Tryig ways of attatching the nylon to the elastic.

I decided to try ways of attatching the nylon to the elastic on a smaller scale – on my hand. The pictures are uploaded below. I did it to save time on making bigger scale sample now and to check what I have to do to reduce the amount of wire in the nylon, as my tutor told me. I tried to weave through nylon holes with the elastic. This worked only when I cut the elastic in a half as it was to thick to go through holes. However, after cutting the elastic was less strong, so it cracked shortly after I put it on my hand. If I would really like to use this way of joining the elastic with nylon the piece could be in danger of destruction when put on. The elastic would be too delicat to hold it. Stitching it is impossible at all, because the needle does not go through the elastic. I think I will have to keep the wire in the elastic and have it underneath. To cover the elastic with nylon. This is the quickest and safest way of joining it together and I do not want my piece to be destroyed, so I will not follow tutors advise at this point. It is because I want to make sure that the piece will survive through the photoshoot and the exhibition, this is most important for me.

Skirt – third part of it is ready. I tried it on myself and I think I will have to add another part. I thought three parts will be enough but now I see I need another one. I would rather have it to big and fitting on me than too small.

Last touches to nalbinded sleeves, few more nalbinded parts to make it look symmetrical. Also, there are some holes that appear in the parts where the weight of the garment is bigger – places like armpits and shoulders. I had to stitch them so I kept using the same technique I was using before for that.

Nylon – plain knit of nylon prepared for experimentation tomorrow – should I use the nylon over sleeves or is it enough to have it only over the collar.

Evaluation of this stage of the project:

What went well?

I have done another part of the skirt which means I keep up to date with my time management. Although I will have to do another part of it.

What did not go well?

It is rather impossible to reduce the amount of wire in the nylon part. If I would have more time I could keep experimenting with how to stretch nylon without wire and how to keep it in shape without it but now I have to keep making and going with work. I cannot continue this experimentation because I will run out of time for making.

How can I move on from now?

Figure out if the nylon will stay only as collar or also as cover for the sleeves.  Prepare embroidery idea for crit on Thursday so that I will be sure that I know what I have to do to finish my garment for the photoshoot.



Feedback session with tutors and classmates. Showing work that I have done over the break.

Below are uploaded the pictures from crit session with my friends and our discussion after the crits – notes.

IMG_6086.JPG.1     IMG_5543.JPG

Image on the left - my notes, image on the right - my tutor's notes


What feedback did I got after the break?

My tutor told me that my work looks really thoughtfull and I am on my track with making and time. The embroidery idea was approved by my tutor and I was told that thinking about the embroidery in terms of composition will be a good idea, so just as I was going to do before. I was suggested to include more wire in the embroidery, to use the elements of twisted, looped wire I was using in my initial experimentation, as this would enrich the textures and showcase the element of industrialization and mass production. I think this is a really good idea and I want to keep it, because one of my aims for this project is to develop really thoughtfull and rich textures and also to include the core elements of my research – wire as industrialiation compared to craft would reveal the tension between machine made and hand made in the embroidery.  I want to use more wire in it than in my samples so far. This in my opinion would help me to achieve very interesting elements for embroidery.

When it comes to the ideas for the back I have – I was told to leave the back blank, without any nalbinding, as this would make the piece slightly quicker to make and lighter (in terms of weight, it is already quite heavy) and more intriguing – making it closed on the back could be slightly too predictable. I think this is good idea too, because not only will I get more time to make really detailed embroidery but also I can be sure that there is no more wool I need, so I do not need to spend time dyeing anymore. Opening the back would also make the garment more open to the air, lighter in that way and communicate with the idea of air, it would grasp the air not ony in the texture but also in the form in a way – this would result in better communication of my idea.

I was also told that when I reduce the back I could focus more on the collar made from nylon and make it look as if I have done the fabric, not as if I have bought it (machine knitted collar would look as a ready one). This made me think that I could add some weaving in the same manner as it was on the skirt – make the back interact with air more, again the air would be painted. My tutor gave me an advice that I could make a small top from a transparent piece of fabric to hold all piece together – the sleeves are quite heavy so if nothing would hold them together they will look as if they had no shape. I am not going to use this idea though, because when I was talking to my friends afterwards I was suggested to use transparent elastic (just carefully so that it will not look like a bra stripe). This is much easier option and quicker too – I do not have much time to research for fabric for top now and I do not want to choose a random fabric for that. I want to stick to the idea of collar and elastic. However, if I want to make the collar with nylon I will have to place some wire underneath – I was told today to be carefull with that because if it has sharp ends it may hurt the model and also look bad – too overloaded with wire. I am absolutely aware of that, as I have scratches from wire already. I think though that using wire for nylon construction (in any shape) would stretch it better than without it. I can keep the wire but it has to be secured and really delicate. I think I will figure the wire parts out as I make.

When it comes to the skirt – I have to finish it and cover seams (by wool, needle punch or some wire elements) and I could add some colour to fringes – I was thinking of doing that because in my sample they have colours too. I have to finish the skirt for sure, as soon as possible and then start embroidery.

What this feedback made me think of?

I think that the idea of leaving the back blank is a good one, as I said before this would make the piece look lighter and weight less, so it will be also easier to wear and communicate my idea better. Also for me this would mean less work on nalbinding and more time for embroidery and collar. I still need to think if I want to have the nylon pieces over the sleeves too and how exactly should I attatch the elastic and if it even work? I must try this on myself or a mannequin and tell if it will work. On my final design – to have nylon over the sleeves. Now I think that perhaps I could stay only with the nylon collar and leave the sleeves without nylon over it.


I went to John Lewis to look for elastic and also to look for some buttons in case the elastic won’t work well. My tutor told me to use steel buttons to showcase the element of industrialization. I have found some and I have used them back onto the page where I was  drawing details for garments. In case the elastic won’t work I will come back to the idea of buttons. This would take longer for sure, but at least it will be a B plan.

Experimentation made later that day – working in sketchbook:

Trying to visualize the idea of elstic on the back, not a buttoned closed part. The feedback was definitely usefull, because it allowed me to add some alterations to my idea and push it into slightly different direction  with the opened back, although I still could not grasp how the elastic would really look like and how can it tight both sleeves and front together. I tried my nalbinded piece on myself and took pictures. The drawings that I have made in my sketchbook are attempts to showcase the change I have made when thinking about the feedback I got today – placing elastic instead of nalbinded back. After the experimentation I think the elastic could really work if placed at the very top between each sleeve. Tomorrow I have to try if I want to have the nylon over the sleeves too or to leave it just as a collar. I have to knit the nylon part first too.

Evaluation of this stage of the project:

What went well?

I got a very usefull feedback that made me change my direction for approaching the back – replacing nalbinding with elastic and a nylon collar. I have made some experimentation that allowed me to visualize how the elastic would work like, as I couldn’t really understand it at the beginning and I was not sure if it will work at all. Now I know it should work when placed between the sleeves in the upper part of the piece. This also saves my time a lot and allowes me to focus on the embroidery over the nearest few days. After I have made the experimentation I have also made another part of the skirt – the third part of it. I think I will still have to do one more, because it might be too small. I would rather make it too big than too small.

What did not go well?

I did not managed to make the experimentation with nylon over the sleeves today so I will have to do it tomorrow. This is not a big problem but simply requires quicker work from me tomorrow or at latest the day after tomorrow. I still have to knit the nylon part so I will have to be quick.

How can I move on from now?

I have figured out how to approach the back. Now I have to decide what to do with the nylon idea – to stretch it over sleeves or to use it only as a collar. I have to knit the nylon part – firstly just plain and then I could add weaving into it, when I will know exactly how the nylon works. I need to figure out a way to attatch the elastic to nylon and how this would look like. I have to do the embroeidry too, as this is more time consuming and also slightly more important at this point, because it is the end part of the front. Without it the garment would seem unfinished (at least to me, and I do not want to showcase something that is undone).


Work on the final piece and in sketchbook - finishing second sleeve and second part of the skirt.

I had to think closer about the back and detail - how the piece would be joined together. I thought of making it last week but now I think it is the right time to do it, since I have to find a way of closing the piece. In order to do that I took a look back at my research and the images I had there. I decided to come back to looking at details from my own garments - the old shirt I had. This time though not by looking at fringed adges but at the buttons that are there and at the collar of my old garment. This bit of research was made at the beginning of the project when I thought of using elements of old garments (which is all written below) which later on was put on hold because of other ideas that I had and developed. However, I did not wanted to make a whole new ressearcch on detaild, since there is no time for that now, so I simply looked back.

The ideas for fastenings I have are all based on buttons and different configurations of them. The ones I consider most interesting so far are the ones where there are buttons on the right side so that the embroided part is not covered with fastening, simply because the embroidery is visible better. I think of going with this idea now, but I will ask for some feedback tomorrow.

I have also added few collages to my sketchbook accoridng to the feedback I got from my friend recently - to show more the idea of painting the air through collages, so I used photos of Mary May Morris for these and some from the book "Dust" to show the mood of my project and ideal woman that would stay behind it. I think the idea is more visible now, because of the collages.

I have the front of the skirt ready as well as almost whole front - only thing that should be added is a bit from the upper part of the sleeve and a bit of lenght to the front on the bottom. This means that my plan what I wanted to bring for Monday is fulfilled.

Seventh Week of Unit Seven - Evaluation of this stage of the project:

What went well?

I have fukfilled all the plans I had for this week. I am working on the final piece (documentation on workflow) and I have quite a lot of it ready, eventhough I was running out of wool quite often and I had to dye additional portions of it. This however thought me to roughly count the amount of wool I way need in the future before going to the shop.

My collection of samples is complete - I have a lot of them and a lot of line ups that are made using ideas from draping and samples. I was planning to include the collection of samples as a part of my final outcomes for the exhibition, but we were told that there is only one 3D outcome that can go for the display, so I will probably have to leave the samoles in the box. I think I will do it anyways, because I think that in choice for my pathway - Fashion Design with Knit the garment would represent it fully and in a better way. If I include samples instead of the garment - that would be a shame, so I would prefere to choose the garment.

I have extended bibliogrpahy as well, which means that I followed crit feedback from before the break.

I organized a crit with my firend and we went through the work from over the beak together whihc also means that I have fulfilled the element of geting feedback that I had on the slightly more detailed version of my action plan from the beginning of the break.


What did not go well?

I think I should have started making the final piece earlier because I would have more time to make it less in a hurry. Although I have a lot of it. My only concern is that the nalbinded part is heavy and it may fall off from the hanger if I wwill hand it on the exhibition. I have to secure it. Apart from that there was nothing particular that went very wrong or I had to change. I have developed a plan B though in case something goes wrong and I run out of time. This is on the feedback form Frinday - crit with my firned.

How can I move on from now?

Most important thing is to carry on eith making and get some feedcback from my tutors and hopefully other students. I have to keep working in my sketchbook too, but the priority is on the garment. In sketchbook ther will be the documentation of thinking process and making development, just as on workflow research page.

How did I fulfill the feedback from crit before break?

I deepened my research - I have more brands than before, more images that are also in my sketchbook, and more contextual references (Talks and essays). Very important bits of this research for me are the ones about Eveline van Preussen because the way she used embroidery in her work is what I am aiming to do by adding bright, delicate colours and fringes into my embroidery. Analyzng her work was definitelly helpfull to appraoch this element of making and design process.

I have taken into consideration the feedback about overloading the page so I kept the layout more balanced and more "empty" in a way, so that the content on the page is visible.

I have considered details of the garment - which is was I was told to do as well.


Overall the plan I had for the break is fulfilled and I am still in my schedule for time management.


Dyeing wool, nalbinding the second sleeve and making other part of the skirt - work on the piece. Documenatation of that is on research page in a short animation I did to show how the work is progressing.

According to the feedback - adding annotations in sketchbook and on research page.

Looking atmy work again and stepping back from it I thought I should have a muse - an ideal woman that would wear my design. Mary May Morriss was a daughter of William Morris and she was one of the first women that were passionate about craftsmanship so much to bring it to a broader audience - her history is a kind of prototype to what now other companies and dsigners are trying to fulfill with slow fashion. This makes her a perfect embodiment of a woman that would wear my garments too, because I am making the whole piece as my own approach to slow fashion. She also established first School Of Needlework and was a great embroiderer - I am using embroidery in my own piece as well, so this is another reason to choose her as a perfect muse.

Evaluation of what I did today can be rather short because I focused only on making today. Tomorrow I am planning to come back to sketchbook work and think about details closer and how the piece should be closed on the back. I have dyed enough wool today which is good, because that was hopefully the last dyeing session for this project.



Crit session with my friend from the course. Evaluation of the work I have done over the break, sketchbook and the final outcome work I have. 
Answering the questions from the graph we got at the crits day before the break - the grade I got from my group and the grade I got today as a proposed grade did not changed, but the only part I got Merit is the analysis of research images which makes it closer to the distinction than last time. In order to fix it I was told to add more analysis to the images on my workflow and add some annotations to sketchbook. I was also advised to highlight the anotations I have now because the are sometimes a bit invisbile in big blocks of images. In general the feedback was positive and I was told I have done a lot of work and it is all making visual sense together and the development is visible. 
What I definitely have to add to my sketchbook after the feedback is a bit more of collages that would reflect the idea of painting the air, because I was told that I have a bit too little images and collages with that that would reflect my thinking. It's all on workflow but I should have more of that in sketchbook. I think I will add it to the second sketchbook rather than to the first one

I was discussing the time I need to make the piece too - now I am in the time plan, but in case I will run out of time I sould have a Plan B - I think this is a very good idea and the Plan B is uploaded below.

When it comes to the piece of garment I have now - I was told it looks interesting and definitely the crafts and time of making is visible as well as painting the air - especially in the part of fringes which, I was told looks very good, because of the repetition in it and it's lightness. However, I should focus on the embroidery as soon as possible in case I run out of time. There is priority in the garment and embroidery being a big part of the frint is definitelly the priority. Also, I know how to solve the problem of nylon that would not keep the shape after attatching nalbinded wool to it - I can stitch the nylon over the nalbinded parts - as I have it on my drawings but simply instead of putting directly over the body I can have it over nalbinded sleeves - I think it is a really good idea, because it wont change the shilouette and I will not need to make any big adjustments which will make it quicker and easier for me.

Questions we asked each other:
How the designers that you found informed your thinking and decisions you did in terms of the outcome?
For sure Leutton and Postle for idea on textures and fringes but also shilouettes in a way - simple but textural. Correllcorrell in terms of textures too and the chunky knits they make as well as fringes they have used for their projects. Both brnds were inspirational for general idea of pursuing fashion that involves craftsmanship and time consuming techniques, as they also use them to make their pieces. The designs by Eveline van Preussen were a help for visuaization of feedback I got from my tutor - to make the fringes lighter and keep this delicate colours as majority in my designs. She also uses fringes for her embroidery and her pieces are very light and look a bit like paintings from the front when it comes to the embroided parts. She helped me in a way to visualize how the embroidery would lokk like and be sure that this is what I want to do and that this kind of aesthetics is what I want to pursue in this project.
What are your next steps now? What are you going to bring for Monday?
For Monday I want to have finished front of the skirt and another sleeve. I want to have embroidery composition figured out and start making it, because this element is what makes the piece exciting as well and the complete back is less important than this now if I want to show my idea. I want to bring all sketchbooks and all samples.
I must finish the front - initially it was meant to have parts of nylon that would expose arms and less wool but  because the nalbinded construction was heavy I had to make whole both sleeves nalbinded. Then I want to stitch the nylon elements on top of the sleeves so that the shilouette won't change and nylon elements will stay at the right place. Embroidery on the front is also important and I want to start it as soon as I have the second sleeve ready. As my friend suggested me today - there is a priority in the garment. My work is all about slow fashion and craftsmanship. If I want to reflect it in final piece then the embroidery is more important than the back of the piece because it really shows the connection with crafts and also machinery (embroidery based on drawings of broken fax and the print painting ideas from there; I don't want to have the print elements in my final piece because it is too time consuming if I would like to have the whole skirt made from this kind of knit for example. Also I think it is clearer if I will have fringes on the skirt as this corresponds to the idea of painting the air more in my opinion because it is lighter and resembles brushstrokes much more in terms of structure) 
How is your time management working? What did you learned about managing the time so far?
The time management is working well, I am still on time with everything, but certainly most important thing I learned is to crack on with work early - I know every tutor told us that but I think I had to experience it tofully understand what doeas it mean. Once I started working I saw some problems or other possibilities - like the nylon parts that were too fragile to keep the nalbinded parts on place. I know now not to make things too complicated. My shilouette for this desigs is relatively simple yet detailed, so that was a good thing to keep the general shape simplified. It allowes me for quicker work - I can construct each nalbinded part with similar stitches and simply by joining together nalbinded meters of wool, I do not need to consider any particular changes in the way I join them together, which makes it easier and quicker to work. I also know that work ethic is crucial - to begin every single day the work early and finish late, to keep working, because only when working solutions are progress is visible.
How are you going to work on the final garment now? What are the changes/problems/solutions that occurred when translating the idea from 2D to 3D?
Now I want to finish the bottom part and keep doing the sleeve. Then I will start embroidery on the front and the back part. I also need to buy more wool and dye it - hopefully it is the last session I will have to do with dyeing.
The changes I had to make for the making is mostly the ements of nylon - they will not stay on place if they are not attatched to nalbinding - initially I wanted to place them over bare skin on arms but this will not keep the shape on lace as I can see now. The solution for htat is to stitch the nylon parts directly to nalbinded sleeves - keeping the shape of nylon and the shilouette as it was but simply making sleeves longer. The other change I have done is that I have changed the sample for skirt from print ideas into fringes - I did it because I thought it reflects more the idea behind my project - fringes would show the act of painting for everyone, because they are lighter and look like brushstrokes and the print won't do that necessarily, because not every person knows how it was made and what was printed and my friend told me today that it was a good decision, because the fringes express the idea better. I was also told that they do not look tribal at all as long as they are kept in lighter colours with only few darker elements.
Do you have any B plan? If so how does it look like? 
At the time of the crit we did I did not have any B plan, but I think it is a really good idea to have one. 
The B plan I have now:
If I run out of time I must have the front of the garment ready and the embroidery. I can make it simpler to make things easier and do not worry about the fact that it should go under the sleeve and to the back - that is how I want it to be ideally but I have to stay realistic. The back part instead of being nalbinded can be knitted with nylon - this would make things simpler for sure and quicker. The fastenings are not the most important parts of the piece, I can always use safety pins for photoshoot, or pin the pieces together, as long as the construction is full. Shoes will be made only if I have time.
What are the elements of the garment that absolutely need to be there in order to express your idea?
For sure embroidery, fringes and nalbinding - these are those that must be in my final piece and I cannot give them up.
What can you simplify to achieve maximum of precision and time for making yet keep the time? 
The embroidery must be kept simple - I have to stay realistic in terms of time management. I have about one more week to finish it all. It is tight but possible if I work hard enough. The fastenings are for sure something that could be simplified - that is why putting elastic to skirt is a good idea as well.
Are there any ways you can keep the craft in the piece and slowness yet make it all quicker?
I do not think so that there are any that I could make faster. For sure the fact that I am using very thick wool for nalbinding makes things easier than if I woul have chosen very think wool for that. The fact that I have the fringes on nylon only at the bottom of the skirt makes it faser, becasue plain knits are wasier to make than elaborated pattern.


Working on the garment - dyeing wool, nalbinding and beginning of work on the bottom part.

The skirt I had on my designs that would be made with the sample where there is nylon, knitweave and fringes is the one I have started to work on today. To get any idea on how to construct it I used my own skirt and measured it to cound the parameters of knits I have to make. The documentation of this step is in sketchbook. Also, this skirt is fatened with elastic in waist which made me think that this ould be a way of making this bottom oart wearable - the model will certainly be thinner than my manequinn and therefore elastic will adjust to the body of the model without any problems.

I think that the bottom part looks fine now, because the nylon part is really fragile yet dynamic because of the fringes, so the painted air is visible. The only problem with it is the proportion - there is too much of plain blue knit visible - much more than in my sample before. It is because I had to cover the bottom part of the body - exposing it has nothing to do with my concept, so it would be irrelevant to make it all completely transparent. To minimalize this blue plain part I think I will have to enlarge the nalbinded part - I do not want to have that much of plain blue knit because I think it looks slightly boring and basic. I could cover it with  fringes as well, if I run out of wool or have no time left.

I realized that the skirt has to be constructed out of four knitted parts, because on my knitting machine there is not efough space to knit the whole front at once - the carriage has no place to move.


Documentation on workflow research page.


Evaluation of this stage of the project:

What went well?

I have begun to work on the bottom part. The general idea of fringes and nylon on the bottom seems to be working, but the proportins of the palin blue knit is too big - I will have to cover the plain blue part with either nalbinding or fringes - I will see what do I have time for. The work is moving forward and I am still in my time schedule.

How can I move on from now?

I still have  to think about the embroidery, but I really need to have something of the final piece done - it can still be changed but I must put priority on that now. Tomorrow I want to make a crit with my frineds from the course, so hopefully I will get some feedback on all my work so far.


Work on the final garment - nalbinding sleeve and part of the front.
Fastenings will be needed, It's too complicated the whole piece to put it through head. The wool is not elastic enough to be adjustable to put it on through head as I thought before - I will need to look at other garment details - I did it on my workflow already so it is now matter of thinking of it in sketchbook. 
Moreover the whole nalbinded construction so far is really heavy so there are holes in it - it is simply unraveling and I need to stitch all ends of threads securely. I'm doing all stitching by hand so it took me around 8 more hours to finish the sleeve. Having those holes and very fragile stitches and this heavy construction I had to find a way to make sure that it all will stay at the right place. I looked at my research once again and  at the picture of my old garments - there are visible stitches on the other side of my garments that I looked at, they are visible from the front side and the thread is in different colour. Having that in my mind I decided to mend the holes with a pale pink thread from the front but in a way that would look like a stitch - I simply used same embroider technique as I was using before. This also made me think of the visibility of the handwork that was already made, but in a very subtle and not too distracting way. Those visible stitches indicate that whole piece was madeby hand yet are not too distracting and does not seem irrelevant, because of how small they are.
This part of the garment is ready, but there will be a problem with the nylon parts that were supposed to be on the sleeve, because nylon even when placed on the wire it is still fragile and won't make any volume if the heavy nalbinding will be hanging on it. I think I will have to make more of the nalbinding part and then place the nylon parts only as a collar or make an additional piece to put on the shoulders. I still have to think about it and I want to ask someone for feedback before I decide. 
Evaluation of this stage of the project:
What went well?
I'm moving on with the making and despite the fact that it is very time consuming I have made a whole one sleeve and a part of the front. I'm keeping in time with my schedule.
What did not go well? 
I don't have any wool left again so I have to dye another part of it. It is hard to measure how much exactly do I need for this project and I don't want to dye too much because it is quite expensive yarn and if anything is left I may use it in the future. 


Library visit. Looking for images that would reflect the mood of my project, the aestherics of "painted air" and they way I see it and imagine. This is because of my feedback to deepen the research and because I thought I need some designers reference to make it easier for me to work towards a certain effect (not copying others but knowing how to approach my idea).
Yarn Shop visit. Dyeing wool. It is too light the color of the wool - it is slightly lighter than the shade I was thinking of using at the beginning but there is not much I can do about it now - I have to keep going with the making and have the wool dyed. I will leave the color as it is now and ask for feedback as soon as I meet my friends from the course or tutors after the break. If it really is too light then I could dye the whole piece after nalbinding it. However to my personal taste it doesn't feel like it is too light - it still (or actually even more) looks like a cloud like garment, so it communicates the idea of air behind it. That is why I think I can leave the color as it is. There will also be the appliqué on top of the upper piece of the garment so it will be colorful and vibrant and eye catching, because of that. 
To visualize my thinking of the embroidery I want to make clearer I did some Pinterest research for designers that used embroidery in a similar way to how I think of using it - to focus on fringes in embroidery and loose threads that would paint the air like brushstrokes. Eveline van Preussen makes beautiful embroidery on her pieces too and her designs made me understood how the embroidery could really look like - how the colours look together and what knid of scale is needed to make it visible - it needs to be really big. She also achieves this effect of lightness yet using many colours which is what I want to have too - now I really know what my tutor meant by saying that I should use more lighter tones - it makes the embroidery really look like painted air then. This research helped me to understand and visualize it. Also if  the fringes should are rather light and delicate yet colorful they will show the energy of painting the air - like on Cy Twomblys paintings. 
The pictures by Nadav Kander are rather element of mood of the piece and are a visual reference for textures I am using - this is also an idea for photoshoot I could do after I will have finished the piece - some place where the horizon is flat and the sky very pale - then with a model in this landscape it would really look like painting air around. Those landscapes on these pictures are from places in Russia that were damaged by socialists and the Soviets after WWII which kind of reminds me of Nowa Huta as it is the same political situation that stands behind the damage.
Working on the garment - nalbinding wool, making sleeve and front.
Evaluation of this stage of the project:
What went well?
I have visual references for designer that uses embroidery and fringes in similar way to what I think of doing. It really helps to understand the lightness and proportions of bold colours in the piece - if I want to use some darker colours I can do that but I must keep the pale and delicate tones as majority of the piece because this would make it look lighter - that is how Eveline van Preussen did it.
How can I move on from now?
Keep making and think of embroidery - the embroidery must be considered before Monday yet now the priority is to have the nalbinded part made in as big amount as possible.


Work on the final outcome.
I have chosen three designs that I think are the most successful and interesting in terms of shilouettes- these are three ideas for garments with embroidery on the front and nylon pieces on the shoulders and on skirts. I consider them most interesting because of this embroided appliqué that I could do on the front and the amount of fringes that are placed together with the elements of embroidery in the front. (The embroidery for all those ideas are those circular shapes I had at the very beginning of this project, then in print and now as embroidery) I have decided to change the initial idea for skirts in these designs from the ones where there was printed/painted knit on the bottom to the one where there are fringes on nylon on the skirt - this is the idea from the sample I did last week with knit weave on nylon. I decided to use this because it looks lighter and is more dynamic - when the model will move the fringes will move too and the air would seem painted - this I think would visually represent the idea and make the garmentore fun and interesting to wear. This on the pictures could give a nice, painted like effect - that is why I decided to change this element of the design.
From those three I have done off the body drawings because I wanted to visualize the ways I can construct the pieces. I have already nalbinded few meters to make it easier for me to start working. I have decided to start with the upper part of the design as it is more time consuming to make it. I have stitched together all the parts of nalbinding I had but because the structure is quite heavy it started to unravel in some places and there were holes in the piece, so I had to stitch those parts once again but this time I was using a different stitch to do that - I used same embroidery stitc as when I do the embroidery with the thick wool on my samples. The only difference is that I did not put any wool underneath but I just stitched over the holes and tightened them. This worked really well because the parts where there were any holes are secured and the part of the garment which is always invisible is neat. The knots of the threads as well as the parts of wool are all secure. It doesn't seem like much but it took me really the whole day to make the nalbinded pieces securely fasten - I don't want the garment to fall apart or to have holes. 
Documentation pictures are on the research page.
Evaluation of this stage of the project:
What went well?
I have done quite a big part of my garment already which is good because it takes long to make each bit of it. I have understood the construction I can make by doing off the body drawings - the upper piece as a blouse/sweater with parts of nylon and the bottom part as a skirt. 
What did not went well?
I don't have more wool yet, I have do dye another part of it. 
How can I move on from now?
I have to carry on with the making and consider the composition of the embroidery - perhaps do some collages to think about it. However the priority now is to keep making.


Still the research page is not working the way it was, I am trying to fix it.

Nalbinding wool from yesterdays dyeing session. I nalbinded around 30 meters of wool which took me around 2,5 hour total. After putting it all together on a manequinn I realized I have enough wool to make a big part of sleeve and a part of the front of the garment. Now I when I had enough of fabric/malbinding to start working with I staarted to think about which piece exactly should I make. The shilouettes I consider most sucessfull, after talking with my firend from the course, are the ones from the very beginning. I asked for some feedback on them and I was told that those from the first draping with wire are the most sucessfull, because they have all elements that I show the idea of painting the air - merino wool, nylon, fringes and those embroidery ideas that seem most exciting to translate into 3D. I agree ith that, I also think that those are the most sucessfull ones - they are not too voluminous or huge, as I was afraid that too much volume would make it all look like huge costumes. But, because I know that some parts can be lost in translation (by saying that I mean that the garment always differs from the initial idea and that there are still changes being made to it) I decided to choose three garments that I like the most - three shilouettes with embroidery on the front, nylon "jackets/mists" and big nalbinded tops.


To see how it is going too look like I stitched the nalbinded wool I had into a sleeve that would be llike the one from the designs and I did a big piece of nylon knits (25x30cm; it is actually really hard to finish off the nylon sample with nylon yarn, it takes around 1 hour just to cast off, because the nylon yarn is very stiff and tangles up really esily, also I am ot the most advanced knitter so it takes me longer just because of that). Then I put all together on a stand and took some pictures too see if it is all going to work the way it is on the design drawing. It actually is working - the nalbinding gives a very chunky and textural effect, yet it is not heavy, so it resembles a cloud. The colour of the wool for some resasons is lighter than the last time I dyed it, but I can't help it - it is a natural fiber and it the conditions that I have for dyeing it is the closes colour I could achieve. Nylon piece works well too, but it is much less lifted up than I thought. The wire I am using for it is very stiff and quite strong, because I wanted it to stand up a bit, and really go into the air - like painting it. It still is lifted up, simply a bit less than I thought, but it is not a big problem now. I will be able to tell if I want it to be more stiff and go higher into the air when I have more of that. It is actualy possible to construct something out of this type of yarn because the wire doesn't stop it from being a sleeve or disables movement, which is good. So far the textile pieces are working and so is the shilouette - the shapes from the draping are translated into 3D from the design drawing with accuracy.

Sixth Week of Unit Sven - Evaluation of this stage of the project:

What went well?

I am keeping up with the plan I had - the samples collection is complete, the ideas that would probably stay just as a collection are those with lace stitch and print. The ones that would be transformed onto the body are those with nalbinding, nylon, finges and embroidery. This can still change a bit, it depends on some more feedback that I will eventually get, but this is how I see it now. I started to work on the final piece, so the time management is working well. I did all elements I have planned for this week. I have found ways of titiching nylon to the wire in a neat way, so that the shape of a nylon sample can be different than just a square. I have done a deeper and bigger research and I extended my bibliography, which is what I have been told to do. I also have an idea for shoes that I want to include for my final outcome (obviously if it looks good with the rest of the piece).

What did not go well?

I though I would be able to make more samples for the collection, but they were too time consuming to make and I could not do more. One or two samples a day seems very little, but the time I have spand making them is the reason for it. Each part of embroidery on samples is around 2 hours of making. Lucet is quite time consuming too and over this week I have done around 4 meters of it, so it is 8 hours of making. It is really tricky with the making time and I hope I won't get caught by it with the final piece.

How can I move on from now?

Continue working on the final piece. Consider embroidery ideas well, buy and dye another 70 meters of wool. Ask for feedback. All documented in sketchbook - I shouldn,t stop the sketchbook work either, it is all a part of the final outcome.

Am I making any signifficant changes in my work?

No, it all seems to work well so far, so no changes are needed. The shilouettes are not too voluminous, so they look lke lothes and not like costumes, the samples are so far working with the shilouette ideas. Even the wire for nalbinding is not needed underneath, because the structure is stiff enough to rely on itself. The nylon parts are working as well, eventhough it is not easy to knit with nylon yarn. The only addition I made so far is that I started use more colours of merino wool. However, I think it is really a small change and it is only a textural addition and not any big change in the concept but it even shows it deeper - more merino colours means more brush strokes. The general idea remains still the same, it just goes deeper and deeper into the idea of painting the air. The topic in general has few aspects: crafts, machinery and air pollution. I attempt to keep them all in a balance - air and the act of painting it is shown by textures and colours as well as the general shilouette. The textile pieces are aiming to show that too by including elements that resemble dynamic brushstrokes (merino wool or fringes) and effect of "splashes" of paint - fringes.  Then crafts is embodied in the techniques I am unig - nalbinding, lucet and embroidery. The machinery is the foundation for shilouette ideas and shapes as well as the elements of embroided appliquee. One of the most significant elements I have excluded is that I was using sprang only at the beginning. I did not keep up with it because I focused on nalbinding more and lucet, as these techniques are more efficinet and easier to make. It is an important argument, because I cannot get tangled up with techniques I cannot actually make.

Who is going to wear this piece?

I was thinking about it for a while, but I do not think I have mentioned it before. Having red those articles and essays about slow fashion I realized it is not only the designers role to care for the Slow Fashion Movement - designers are only part of it - they have to fulfill all the bulletpoint for Slow Fashion production (which I listed in the essay on my research page and some pictures before) but they cannot be the Slow Fashion as such. The consumers are equally responsible for making conscious decisions. So my idea of person that wear this pice is someone who is deeply conscious about the production process and the meaning of the movement for sustainable development. It doesn't mean that it is an ecologist, no, rather an educated consumer. A new weave of consumer who are willing to take responsibility for overwhelming, polluting mass production and be those ho say no to it. This can be any person when it comes to the features of the body - I am aiming to reach the minds of consumers too, too see their choices as statements not as trends.


Organizing research and reflection pages - after update on workflow they moved and the sizes of pictures got much smaller. I am still working on improvement of that, I do not know why this happened.

Dyeing wool - another 30 meters (I can only dye amounts of around 30 meters at once due to lack of space).

I also found some more articles about Bonotto and his factory which I uploaded a bit earlier on next to the research about Bonotto that I have done. Again, it is all about craftsmanship and reusing pieces of old machinery to create new and unique fabrics. This factory was for me so far the most significant inspiation for this project, because of the ideology it conveys - the Slow Fashion Movement, the Slow Factory ideology. It is what formed my own ide of Slow Fashion and approaching it with age-old tachniques but at the same time exploring tension between industrialization and crafts.

Thinking about it again and seeing this aritce made me think that I should really make this appliquee that I want to make better, because it should rersemble a bit more the parts of the machinery I was drawing - by doing so it would explore this tension of crafts and machinery even more. It would be so because of the fact that embroidery is all hand made, time consuming technique and if it would depict machinery or abstracted parts of it it would show the connection between crafts and machinery yet in a new and quite disturbing way - no embroidery patterns depict machines, machines are always hidden in the process of production, so as the people that make the clothes. Making this appliquee big and bold and colourfull would expose those hidden tensions of people and machines that lye in the foundation of fashion as well. I simply need to think well about how this would look like.

Evaluation of this stage of the project:

What went well?

Initially I though that I would keep embroidery just as a sample in the collection, but now I can see the potential it has for my project to emphasize the time needed for making the piece, the craft and the tension between machinery and craftsmanship. This made me decide to finally use it in my project and do not leave it only as a part of sample collection. It is a slight change in the approach in terms of techniques ,but not because I am excluding some technique but because I am adding another one to it. I think it is good, because it enriches the textural effect of the piece and has the potential to emphasize the idea behind this project.

What did not go well?

It seems like I have not done much - one sample a day, but this is because of the time I need to make one sample - I dye the wool and it also takes time for it to dry, which slows the whole process even more. However, I am still in the time shedule, so everything goes well so far. I am ready to start making. For Monday next week we have to have a part of our final garmnet ready to present the proposal for it.

How can I move on form now?

Finish organizing the workflow - put the pictures after the update back into the normal size and place. Carry on with nalbinding and making. Document by photography.


Sketchbook work and beginning of work on final outcome. Sample making.

I started to work on the final garment by nalbinding the wool that I have dyed this week. The problem with this wool is that the colour is always different, because the way I am dyeing is not entierly controlled which is due to my cooker that is broken. This means that I cannot controll the temperature of the water and the colour is dull and sometimes gets green. I managed to dye 20 meters of wool in the colour that was closest to the one I have found. I still have around 50 more meters to dye but I will do it later, because of the space I have to hang the wool to dry. I was making nalbinding with the wool because regardless of the exact design that I will chose this is an element that occures in all designs and it takes quite a long time to do.

I also did a sample with nalbinding and embroidery to see how this appliquee that I could make (the one that has a circular shape) - how this one would look like. I realized that I must think about the actual composition of the piece that would be embroided ahead and consider the actual composition of it and how this would look like before I start embroidering. I think I will have to do some drawings for that and perhaps look back at what I already have in my sketchbook to find some ideas from there. For this sample I also used more colour of merino wool - being inspired by Cy Twombly and his dynamic fring-like marks I thought that using more colour would make the sample look as if it was painted. This worked well, because the merino is very delicate so when pieces of this wool are placed next to each other they create a real effect of painting which communicates my idea of painting the air. I think I could really use it for my final outcome on the parts of embroidery.

I remember my tutor told me to make parts that are nalbinded and add very fragile, mist like elements with merino and fringes (fluffy, painting the air like) and it will be fine. This means that I have in my shilouettes all elements that I should have now and I am ready to start making, but I need to think where which element goes and how the general composition of the piece looks like.

When it comes to the details of the garment that I thought of drawing - I think I will not do that now, because the pieces would be for me easier to construct if they will be put through the head or have very hidden fastenings. I think I will leave this and eventually if I need that to help me with the construction I will do it.

I also did some lucet session today to have that for the final outcome.

Evaluation of this stage of the project:

What went well?

I have started to actually make the final outcome. Nalbinding and fastening it together - it takes quite a long time, so it seems like I have not done much, but to do a piece of textile with nalbinding and sewing it together it took me about 3 hours. I'm glad I started now. I also like the effect of the merino wool in various colours, because it lookes like splashes of paint or brushstrokes and therefore makes the samples more interesting. I want to keep it as a part of the embroidery on the final piece. Initially I thought I won't do the embroided part on the final piece beause it would be too time consuming. However, I think it  will really add to the quality of the final outcome and emphasize the time I spend on it, so at this point also the ideology of slow fashion. Therefore I think I should keep it and carry on with the embroidery on the final piece.

What did not go well?

I run out of the wool again I have to dye another part of wool tomorrow.

How can I move on from now?

Consider which final outcome will I choose, think about the feedback from the tutors that I got and from my firiends last week. Consider the embroidery idea and the parts here there is nylon - how will it all look like.

Are there any more samples needed?

Perhaps - I have to rethink the embroidery idea but at the same time I do not want to make more embroided samples because I do not have time for that really. I want to keep this ide of more than one colour of merino and the tonal elements of it in the garment. I will have to figure it out by choosing one design and trying it out.  I have the samples for collection - I have five of them so this element is ready and from this point of view I do not need much more of them. I have a variety that shows different options of interpretation of my garments and the topic. All of them are one collection because of the techniques I am using and materials, as well as colour scheme. Now it is more about the final outcome and how can I adjust all of that to a sucessfull garment.


Uploading research and organizing bibliography.
The research that I have done is mostly theoretical and relates to the ideology of craftsmanship as a way of developing sustainable fashion. The organizations I found are from the craftsmanship magazine. It turned out that crafts have a huge worldwide organizations that connect them together to work on various projects, but there are no projects related to fashion design. That makes me think that what I am doing now is even more important for sustainability of future development because it's so uncommon. Obviously I don't think it's extremely ground breaking but it spreads the message which is not very popular. 
The talks I found are also related to the topic. Richard Sennett is more focused on sociological role of craft in modern society while the Ted Talk is strictly about crafts as a sustainable and ethical way of making. The quotations from the talk that Richard Sennett gave are especially important for me, because they proove that craftsmanship is something that mankind builds onto. This means that craft cannot be a thing of the past. because all the development that humankind has ever made is based on the development of craft and the fact that people can actually make something. That is what keeps humankind going and that is what is the foundation for all professions - regardless if  it is a doctor or a fashion designer. He also points out the fact that it is the capitalism that made us think that craft is a thing of the past - capitalism means the ideology of mass production too. I know that soviet factories were basically  build against caiptalist but still the ideology of making as much as possible is the core. Regardkess of the ideology that people have the mass production and income is always important for business. This is obvious but somehow wrong if it becomes a threat to the environment or people, because then we behave as if we were destroying us by ourselves. Consuming less is a way to solve problems. Producing less in a better quality is a way too - this means slow fashion movement is the one that we should focus on if we really want to help our planet and ourselves. 
The Nisolo company that is described in this talk makes shoes not garments but I still decided to include it because this means that the slow fashion movement is global and reaches various aspects of lives. 
The photo of my own mark making reminded me of fringes as dynamic brush strokes that would paint the air around the garment when the model moves. Even the colors are very similar. I have it in my sketchbook as well because for me it's almost like a sample on paper. This also reminded me of Ct Twomblys paintings and his dynamic brushstrokes which, on the other hand, reminded me of Tom Duimistras paintings I was looking at before. This is another example of my thinking about painting the air.
Also I kept working in my sketchbook and focused a bit on the idea for shoes. I did few design ideas and samples that would show it. I thought that shoes could be dark red simply because the composition of the shilouettes is full when they are red - the colors complement each other and make a visual sense. Then the ideas of merino wool that would look like flames - I continued with that and added merino to those samples as well. I also added some burgundy chunky wool that I dyed because it would enrich the textures on samples. I think it looks good, because the samples for shoes are not too detailed so I can actually make them, they personalize all elements of the apparel (shoes) and they correspond to previous samples that I have done - they are made using same burgundy wool, thick wool in burgundy and merino. I used the green merino also in shade that is slightly more intense in tone to see how it would look like if I include elements of my tutors advise I got before the break. 
The first sketchbook is finished so next steps will be documented in sketchbook number two.
Evaluation of this stage of the project:
What went well?
I have more contextual research which means that I am following the feedback I got from my group to deepen the research that I have. I also have developed an idea for shoes which would complement the final outcome.
How can I move on from now?
Start making the final outcome and perhaps do some more samples for the collection - I know I have quite a few already but I think I could do more. It is also what I got from my feedback. I was in a group with textile students too and they said that if I want to have  a small collection I should have more samples to choose from and to simply develop those ideas that I have now.


Sketchbook work. 
Continuation of development of draping. 
While using one of the pictures of Stephen Cripps in my sketchbook I got the idea for shoes. The picture I got it from is the one where he is standing in flames of a piece of explosive material he used. Those flames look like painting the air because they interfere with the surrounding space. That made me think of merino wool which has similar structure to those flames on the picture, so I thought of shoes where there is merino wool around and while the model walk the wool is "painting the air"
Alongside this I did few design development ideas to see how this could look like. Also I took an element of Stephen Cripps protection garment he is wearing on this picture and developed it for a kind of protective element on the face which I think is also relevant to the topic of air pollution because we breathe through our mouths and noses so having this kind of protection on the face is also indicating the topic. 
I also did some more research which I will upload after I choose the most important elements of it. 
Evaluation of this stage of the project:
What went well?
I have an idea for shoes. I know it's not the most important element of the whole piece but I think it would enhance the final effect of my work. I am satisfied with the fact that I connected the idea for shoes into the whole project so that they are not random. I also did quite a lot of lucet cord today so I will have some for working on final outcome.
What did not go well?
I think it's going too slow the whole work. Obviously it is a part of the project to make it slow and without hurry but on the other hand I have to make it all on time. I know I am still in action plan, the time management is working and I am developing all ideas within the schedule, but I am concerned about the time we have before the exhibition, because if something goes wrong I might not make it. To prevent it I have to start working as soon as possible, which means tomorrow.
How can I move on from now?
I have to start making. Even if I will want to expand  the collection of samples I still can do that but now I really need to think of the final outcome


Continuation of work - sample, sketchbook, shilouette.

I continued with making samples and using the pictures of my research as well as trying to find new ways of approaching the shilouette. I know I have done some design development already, but I think I still could try something new. If I want to have a line up as well I should have as many ideas as possible for the shilouette.

The new sample is nylon, weave and nalbinding. I used some of the photos of Stephen Cripps and his explosions and fireworks, because I wanted to organize the fringes in my sampes a bit and, as I indicated before, I wanted to use those images for that. I thought of limiting fringes only to parts of sample where the pattern or texture would change, as a way of showing a kind of explosion between patterns, so like when the tension between craftsmanship and machinery occurs. This worked really well, because the pattern that emerged is very regular. This looks more considerate and makes the fringes placed in the right positions, so they are an element of the pattern and not a disturbing thread pieces that hide the pattern. I did this by weaving only on every second needle but using only nine needles not all of them, as before (nine because I wanted to use half of the needles I had to keep the balance).  This makes the pattern look like woven boxes of textile into knitted parts. I am really satisfied with this sample, because it looks really organized and do not seem random, while it has all the elemnts I was using before - nylon, fringes, weave, nalbinding and different yarns. I only forgot to put more merino into it, but I will do another one.

To do this sample today I used the nylon printed/painted yarn. I had this idea that I wanted to try that I got last week - to do the same type of yarn with print but on nylon. So I knitted a plain nylon piece, painted on it and unravelled. This did not  work well, because the print is almost completely invisible. only when all of the yarn is rolled on a piece of paper or anything else, to present it - then, yes it is visible, but otherwise it is completely invisible. Moreover, when I was using this yarn with print/paint on knitting machine, the paint sticked to the carriage (eventhough it was dry) and not on the yarn. Somehow it was not connected to the fibres in the yarn. With cotton it is different, because it stays in the fibre, but nylon, as an artificial yarn has no qualities like cotton, that is why the paint stays only on top of the yarn and the whole effect is destroyed when the yarn goes throug carriage.That is the only element of this sample that could work differently, but still, I think the sample looks good (as explained above).

From this sample I wanted to have more shilouete ideas, so I took another wire-experiment I did before and extracted some shapes from that. Then I did a draping using same wire technique that I used before but with different shapes. Onto that I placed the sample I did but close to the camera, so that the perspective would change the scale and make it seem bigger. This allowed me to include my sample into draping and gat more ideas for development. Also, while looking at the sample like that, on the manequinn I realized that when the colour proportions are lighter - when there is more of blue or pink, the sample seems more like air or cloud, because of the colour associations. Then the green fringes or the darker parts in general look like elements of smoke with air pollution. This looks much better in terms of communicating my idea than before.

I was developing the ideas from today's draping as well as thinking of how to actually join the nylon to the wire - I was thinking about it yesterday, but after todays draping I thought I should take a closer look to this issue. It is because while developing the ideas from this draping I got th one of suspending a bigger piece of knitted nylon on the back on the model. This would look like a big mist around the body or a cloud-like elemnt of the garment, but still the problem remains - how to join the nylon to the wire to make it look light. In the samples it was easier, because the wire is invisible - it is hidden underneath other yarns in the sample so it does not look heavy. However, if I would like to stretch only nylon over this it must look lighter and more neat. To find a solution  and overcome this problem I tried to recreate the shape I extrected for draping and the nylon piece on the back but in a smaller scale and stretch nylon over it. At the beginning it unravelled and got destoryed - nylon is very stiff when knitted, so it unravels easily. Then I thought that I should finish the sample as I always do on the knitting machine to prevent it from unraveling and then stitch the nylon piece to the wire with a light blue thread, to make it light. This worked better, because the nylon stayed at it's place and did not unravel, but the wire with a blue yarn around looked too heavy. I tried for the third time doing exactly the same as before, but to stitch nylon piece with nylon yarn to the wire. This made it look lighter - as if nylon was glued to the wire, not really stitched. It did not unravel and it did not look heavy. It is the most neat way of joining nylon to the wire. In this way probably the embroidery would be even possible on it, because it is stiff and stable enough. I did not tired it out though, becuase of the time - to stitch the nylon to the wire it takes around 2 hours for each piece. What is also important about these samples is that the tension for these pieces was 10 - the highest one. I did it because I was thinking of luddities. The story I found about one of the luddites that was knitting too loosely and his supervisor told him to improve it - this looseness is the reason why these nylon parts are this loose as well. Especially the nylon ones, as nylon is a product of industrialization, so the story of luddities is kind of grasped in a tension of knits. Their looseness as a juxtaposition of the origins of nylon yarns.

Evaluation of this stage of the project:

What went well?

I found a way to join nylon knitted pieces to the wire in a neat way. I have another sample with some line ups ideas that I could present as part of the final piece.  I also did some more research, but I will upload it and write about it later this week, as I need to pick the most important bits out of it that are relevent to my topic.

What did not go well?

The nylon yarn (pictures uploaded below) is not working with print at all. I do not think I will keep on experimenting with this kind of print on nylon, because I want to focus on shilouette experimentation and not samples that much - it is fashion design above all, samples are important but not the most.

How can I move on from now?

Continue with development from draping and samples. Try to make a variety so that the collection would be interesting. Like in a fashion show - it is a visual story, the collection should be one too - connected but various.

IMG_5378.JPG  IMG_5379.JPG  IMG_5380.JPG.1





Continuation of work - sketchbook.

Action plan for next two weeks is uploaded below. It is planned according to the feedback I got and the action plan I have done for this project - it hasn't changed, because so far my work is in the plan, I have no delay.

I continued with developing the shilouettes I have so far. While doing that I remembered to include more of garment-like elements and reduce the volume a bit, so that they do not look like costumes. To do that I continued with looking at the pages from previous drapings and refering to those ideas, but transforming them slightly according to my new samples I have done over the last week.

I also got the idea of trying embroidery - circular shapes that I have taken from my print ideas before - on nylon plain knit made on machine. For the embroidery I was using all the yarns that I had before. However, it was very hard to do embroidery on nylon, because plain knit with this yarn is very stiff and rolls tightly together. To see if at least the embroidery was working I sticked it to a piece of cardboard to prevent it from rolling up. This worked - the embroidery is working as such, but the nylon does not beve the way I want it to. It is easier with weave, because it is horizontal alteration on the surface, so the nylon iworking the way I want it to - that is why the previous samples with nylon were working. The embroidery is too fragile for it and the sample may be too easily destroyed, so I decided to leave this idea of embroidery on nylon just as an experiment. Instead I kept on designing and developing ideas from the draping pictures from last week.

I wanted to find some new way of interpretation for the bottom part of the garment, because so far I was mostly focused on the upper part, so I added few pictures from my research that depict tools. They had a fluid shape that reminds me of a letter S. I thought I could interprete it by unraveling thick blue yarn I was using to get those weavy-like shapes on yarn. This worked well, because the yarn keeps the shape of a weave and looks just like those elements of tools. I kept them and added some to the embroidery I did.

The experiment with embroided nylon made me think of the way of joining parts of nylon together - if I would like to make those huge parts of garment from nylon and stretch it over a wire - it will be possible to make it in general, but will it be possible in my conditions - having a domestic knitting machine? It seems quite hard to do, so perhaps these are those ideas that should stay as a sample only. It is far from easy to manipulate with this nylon yarns.

Evaluation of this stage of the project:

What went well?

I have some more designs for shilouettes and one more sample. It is not much but it took me around 2 hours to make the embroidery and another 15 minutes to make the nylon part. It is very time consuming, but it is good, because this is the most important part - it is about slow fashion. I also have 70 meters of thick wool - the one that I am using for nalbinding. I dyed already 20 meters in china blue. What is tricky thoug is that I am dyeing all by hand so the colour is not always exactly the same, eventhough I added same measurements. I do the dyeing in the kitchen in my halls, so the temperature of water is not constantly same. I cannot controll it more than I do now, so this time the colour changed slightly. Although I am still satisfied with the dyeing, because it is not too different than the one I had before - it is just lighter. This is still fine, because I think that lighter colour makes the ideas of air even more visible, because the sample becomes lighter than it was, more cloud-like in a way.

I also bought some merino wool, but in more than just one colour that I have used so far, because I rememebr my tutors advise to include shades of one colour. I was told to include completely new colours eventually and I decided not to, because I will get tangled up with that many various shades, but I think I could try tones of one colour in more than one combination. To do that I picked another blue shades and oanother green shade. They do not vary too much from the previous colour scheme so everything stays as it was in terms of colours, only the shades become richer. I want to see how it works on a sample and do some experimantation with that. I think it could give the effect of brushstrokes that could communicate well the idea of painting the air. Fringes made from merino that looks like brush strokes with dripping paint. This is how I see it on the samples I did last week where I have combined weave and merino on nylon. This could be developed with more colours or tonal alterations to enrich the visual effect.

What did not go well?

It took me a long time to get to the shop today and find fabric dyes in China Blue colour, so I have not done much samples. It is also because of the time that it take t make one sample.

How can I move on from now?

Continue sketchbook work with samples and shiouettes and use the images from Harris Tweed factories and Stephen Cripps to enhance the visual story of sketchbook, message it communicates and make it clear what is going on in my work.




Organizing the research made over last two days and looking for pictures of Harris Tweed company.

Reading The Crafts Magazine, research to be uploaded. Lucet making.

Fifth Week of Unit 7 - Evaluation of this stage of the project:

What went well?

I got a lot of feedback on my project from both tutors and friends for the course that pushed my project further - for example my tutor's advice to add pink to the colour scheme resulted in a more diverse colour palette. Adding more lighter colours made my designs brighter and the garments really begun to look like painted air. My tutor told me that the fringes with merino wool look like brush strokes. This means that my message is visible and the ideas I was thinking of are embodied in the designs. I calmed the voluminous shapes down a bit by following my tutors advice and including elements of previous draping into the designs. It worked really well, because I got more garment-like shapes of the shilouettes without loosing volume and without loosing message of my pieces. The tutorial on refletion with study strategies was very helpfull to know how to approach feedback in the best and most effective way - I got some opposite feedbacks this week - I am the one who is taken into charge for this project, tutors give me only guidelines that I should follow or not, the decision is up to me.

What did not go well?

My feedback from last crit was not extremely helpfull. I got quite a lot  of information that I knew already to work on. I have to ask my fiends once again and get more feedback. I need to have more on the body experimentation too and more design development.

How can I move on from now?

Do more sketchbook work on development, draping and samples. Do not get informed by too many new ideas rather develop what you have now, because you can get lost. Continue with research and extended bibliography.

Did I completed the action plan after progress tutorial?

Yes I did. I asked my tutor also if this needs to be literally thirty samples and design ideas and I was told that not and that I have done enough (by the same tutor that gave me my feedback on progress) so I really think it is fine when it comes to the amount. Most important point is that I have experimented with print ideas and I came back to the initial draping ideas and I developed them which made the designs more dynamic and bold because of the shapes. This was very important because it allowed me to step behind the most literal interpretation of previous draping and be more experimental. I have done more samples too and experimented with nylon yarn instead of wire one. I have found right colour scheme, perhaps I could add some shades of one colour to it, simply to enrich it - this is what my tutor told me this week. I will probably try it but later during this project, because now I want to explore the combination of colours I have already. I got feedback before easter so I am ready to continue working.

Do I keep work on time? (according to the time management from project brief)

Yes. I do. I have developed samples so the collection is quite big. I still want to choose those to stay only as a collection but what I know about them for sure is that those with embroidery will probably stay as a collection and a line up. The ones with dissorted print will probably stay as a collection too, because it is very time consuming to paint, unravel and knit again. I have done a lot of design development (also because I added shilouettes to previous pages according to feedback from my tutor).

Am I following my aims for this project?

Yes, I am. The idea of painting the air with the culture of hands that think - air pollution, craft, machinery and mass production, slow fashion and slow making - it is all what I am researching so far and I am sticking to my ideas for this project. My work is slow because of the techniques I am using - lucet, nalbinding, painted print, machine knitting and needle manipulation, it all takes time. The element of air and painting of it is present in fringes (when moving the air around is like painted with them), in dissorted print which gives to the textile mist like qualities (although not very visible) or even rusty ones, in small holes in lace stitch that open the garment into the air yet show the idea of old elements, in colours (blue), in textures - soft, cloud-like textures and chunky nalbinding that looks like cloud, in shapes - nalbinding over a wire looks like cloud or mist, in yarns - nylon yarn makes an effect of levitating pieces of yarns, really orks wintin the air. All process is sustainable because I am making everything with the power of my hands and the tools I did.



Visit in a Harris Tweed boutique in Oxford. 
Note: it was prohibited to take any pictures inside the shop but I managed to take a picture of a poster in front of it to document that I have really been there. 
I found the brand called Harris Tweed that is an age old collective of craftsmen, makers and artisans that produce tweed using age old techniques of weaving and finishing but with machinery. It is very relevant to my project the way they use industrial machinery in order to make hand crafted textiles. It sounds like a complete juxtaposition but in fact it is true. They managed to balance the tradition of making and new technologies in order to push the boundaries of what crafts means. They make quantities like big brands but using the power of craft with dialogue with modern methods - for example the cloth is still made using traditional technology but the yarns that are especially produced for this tweed are made using more modern machinery. This also makes me think of my usage of nylon - this is an industrial yarn but when reworked by hand, just like Haris Tweed does it will really reveal the tension between these two. Harris Tweed ideology is a erfect combination for my project because and the working techniques -  it is not only connecting craft and technology but also keeping both in balance and developing sustainable solutions for the future. This history and ideology of the brand is a direct link to my research and to my aims for this project- to think of tension between craft and machinery, to find relations between machines and crafts and to challenge the methods of production. 
The images I have found from their company make me think of painting the air really because the yarns that areon some of those pictures look like fringes and other show people working which reminds me of Wiktir Gorkas Posters. These workers proove to me that crafts in XXI century do exist even if they seem extincted.
I also found a newspaper called The Crafts Magazine which I want to read, because it seems very relevant.
Evaluation of this stage of the project:
What went well?
I found another brand that relates to my aims and context of my project. I have deepened my research which is relevant to the goals I got from the feedback. 
How can I move on from now?

Continue researching and start making more again. Read the magazine. Keep working outside and inside sketchbook.



Following my crits feedback - deeper research.
Last week my tutor suggested me to go to Science Museum, I did not have time to do that before but I decided to do it today. Seeing Turbine Hall at Science Museum - trying to understand history of industrialization and the times of luddites. 
At Turbine Hall I saw the other face of industrialization- not the one that it destroyed the previous production system but the one that build up new. It is really impressive to see those huge machines and engines (especially these as they were the beginning of all of it) and imagine them working. It reminds me of sculptures of Jean Tinguely in a way - they are big, they move and they do not look like any other object, they seem remote in their own way of functioning and therefore look like alienated sculptures. I even found some images that were showing new cloth mills - those where luddities were working, even the dates were the same. The museum visit helped me a lot to see and really experience the scale of change that occurred. The huge red engine on the photo on my research page was powering 1800 mechanical looms to make cloth. This is loads times more than when a craftsman is making a piece of textile and operating just one loom. It is like 1800 mechanical hands. It is what bonotto company has in its roots as well - the ideology of a huge factories and mass production. Moreover all those steam engines that begun the industrial revolution were powered by water heated up by coal - the air pollution caused by those incredible amounts of coal that was burned was just the beginning of more advanced yet polluting industries. Being in this Turbine Hall made me feel like I just moved back in time to fully understand what luddities were fighting against and how did it look like at the beginning. 
Evaluation of this stage of the project:
What went well? 
I have made a deeper research into the history of industrialization and found links between my previous research and and this historical context. It was a really interesting experience to see the Turbine Hall and all those machines - some of them were as old as luddities so it is quite possible that luddities have actually seen them. Especially that some of the engines were from the area of their organization. I found some information about James Watt and his machines that begun the industrial revolution, his workshop looks very similar to my grandfathers working space which is another link in all of that. This also makes me think that a new revolution is needed - a revolution of making by hand and come back to crafts but in a completely different approach - to explore the tension between hand and machine made and see how those interact with eachother.
How can I move on from now?
Continue on with realization of feedback from crits yesterday. Make sure that I did all action plan I got at my tutorials. Remember about evaluation.



Reflection on the workshop:

Is this grade what you hoped for, feared or expected?

I hoped for this grade although I want to do my best to achieve higher grade. I did not get much feedback from my group and part of the table I had to fill by myself after they gave my my guidelines. I want to go through this table later during this project again and ask other classmates and see what they ill tell me. I do not understand why some opinions were merit - just because they do not know how much does it need to be done for distinction. Despite my questions I did not got the answer.

What would you like to focus on now to try and improve your overall grade?

- more samples and development on the body

- making of the outcome

- extended bibliography - bigger amount of research

- consider details of the garment

- stitch samples to sketchbook and prevent it from falling apart

- consider layout on the pages


Do you feel that your self assesment was correct?

Yes, I was told I know what I am doing and I should carry on with that and do more of work in and outside the sketchbook but the direction and areas I need to work on are clear.


Do you feel you achieve most highly in the areas that you most enjoy?

Yes, when it comes to the techniques, samples and on the body ideas, but I also feel I should do more of that and start making the final outcome very soon, because it is really time consuming to make it. I think could palette is really sucessfull, because each colour represents other element of my project yet all colour go well together and create a constructive and understandable whole.


What do you need to do in the coming weeks to improve your project?

- continue with samples, development and draping ideas

- do more research

- start making final outcome

- evaluate more the things I make, ask more questions

- think about layout in my sketchbook and prevent it from falling apart

- consider details of the garment - how it is going to work - is the wire construction important for all shilouette or just a part of it?

- write updated action plan or bullet points for organization



Tutorial with Study Strategies on reflection. 
I learned that I should understand the feedback I get not as a defined only way of going but as a guidelines that I should consider when making next steps in my project. I am always too worried that I get variety of feedback and sometimes it's completely different than other one. The opinions vary a lot. I now know that it's all an advice for a pathway to follow and I am the one who is taking responsibility for it. 
I thought about my feedback from yesterday again - I could do more research and include some more defined shapes into the shilouettes so that they look like garments and have that elements of normal clothes. I really think that including more blocky shapes is a good idea, make the shilouettes more realistic and less costume like. I want to have some more research into how to organize the shilouettes because now the amount of fringes is overwhelming and I want to find a way to put them into an order and not everywhere. More research is needed and that is what I learned from the feedback. 
The tutorial was very helpful to realize that I should consider feedback as a guide not as a only way of making things. 
After that I decided to go to the library and look for some artists that would fit to my concept and give me more ideas for silhouettes. I found the artist Stephen Cripps who's work is very much inspired by Jean Tinguely. His work fits to the concept of my project in few ways. Firstly, he uses pieces of old machinery and by interacting with them he creates a tension of a human and machine and art that is created by machinery and by a human. The images from his performances are for me an idea for shilouettes and how to organize them by exploring the combination of crafts and machinery - more solid shpes of his garments remind me on my own designs from experimentation earlier in this project.Makes me think that the balance between crafts and machine made should be visible in the final piece too.
He becomes a machine in a way, his performances are about recreating movements of a machine with a human element in there which is the way I see this process of making a garment - making lucet for 3hours is physically challenging experience and it changes the perception of a craftsman from uniquely made elements to a almost machine made continuous action of making, therefore it has elements of performance. Also if I would use those wire like elements from my experimentation on a bigger scale this would really look like a human within a odd machinery part which could nicely reflect my concept.
Stephen Cripps used a lot of elements of destruction in his works - explosives and fireworks. This makes me think of luddities and their destructive performance-like protests, because of the similarity of purpose. He was destroying the machinery to create new, he did not considered destruction of a machine as a way of protesting against industrialization. He, just as luddites, thought of this act as a way to create new perceptions of a machine and human with it - this makes me think of luddites and the fact that they were breaking machinery only to emphasize their opinion and disagreement on how the machinery is used and who uses it
Those explosive elements in the works of Cripps make me think of the actual act of painting the air - fireworks that look like fringes or brush strokes are painting the air with this dynamism. That is a way of organizing the shilouettes- if an explosive experiment is an effect of a dialogue of a human and a machine then fringes are also a way to show that but only in few places on the body as where the tension is revealed. 
Stephen Cripps workspace looks like a workspace of my grandfather or his shop in general because of the amount of scrap pieces of various machinery and other objects. 
All of these elements make him relevant to my project and explain why I decided to look at this artist.
Apart from that I was working on sketchbook and I found a way to control nylon yarn to form it into an actual sample and not just a rolled knit - I placed some wire underneath. This allows me to fully control shapes of the sample and create an effect of a nylon mist-like textile piece wrapped around the body. This is good, because that way of manipulating the textile piece reminds me of painting the air with a fabric- so like bonotto wants to do. It is also a combination of machine production-industrialism because of the wire used or nylon and hand work when combined with nalbinding. I was developing the shilouettes from all samples and shapes I had and I was making the shilouettes more organized by adding elements of previous draping - my tutor suggested me to do that and I think it's a really good idea because it allows me to develop my ideas in a more precised way yet having a connection between all experimentation I have made.
Evaluation of this stage of the project:
What went well? 
I know how to approach feedback in a more thoughtful way - I am the one that makes decisions and surely I have to consider all suggestions I get but only when having in mind my purposes for the project which are: 
- To define own approach to slow and sustainable fashion
- To use craft based techniques 
- To deepen the perception of craft in modern fashion design 
- To question the values of mass and polluting production and present a sustainable option for it
- To highlight the problem of air pollution 
- To explore the tension between human and machine, craft and mass production.
It's quite a lot but most of these is about same things. This order is not suggesting that any of these is more important than the other, all of that is important and I am the one to realize that by effective editing of work produced and self evaluation with consideration of any feedback I get.
What did not go well?
I did not have time to get the tutorial on research too, just to make sure that everything works before Easter break.
How can I move on from now?
Do more development, samples and on the body draping and develop that. More samples could be good too. I already have a collection of samples for this project alongside some developed ideas but I think I could do more. 


Development of draping from yestedrday, making samples.

I used some embroidery ideas to turn the elements of print into embroidery. This is a way of making the print usefull and not abandoning those elements. The print works as a technique but I think it doesn't showcase the concept behind it that well - it is too complex in the process and the message it had gets lost somewhere in between. I took the circular shape of a nail and turned it into a thick embroidery - I put a piece of  thick wool underneath and sew it over the top. It looks good because it gives the sample more textures that look a bit like cloud or are very soft, so remind me of the idea of air and then painting it with fringes or print, however I am not sure if I will use this elements for sure. Perhaps to develop only as part of the collection of samples - I am not the best embroiderer and I do not want  to research embroidery now that muh, because I have already more other techniques (lucet, sorang or nalbinding). It requires some more consideration, perhaps later on.

Our tutors today were making a short feedback sessions with each of us, so I showed my sketchbook as well. I was told that the colour scheme is fine and I do not need to add anything, perhaps only including more light than dark colours (like navy or burgundy) to make it seem lighter. In terms of 3D work I wa told that everything is fine with it and I do not need to add more solid shapes into it. However, I think I will try to just to see how it works.

The other tutor told me that I sould do more research and I could look at workwear or aprons. The point is that I have tried already to find any interesting workwear for this project but I simply did not. From aesthetical point of view it is not a type of clothes that I am attracted to, so I will try include some elements, simply to experiment and go out from the comfort zone, but I do not want to make too much of workwear in it.

I was told I do not need any more research, but I feel like I do. Even if it is only a conceptual element to the project I think I need more of it.

I also added few more shilouettes to some pages that were lacking it.

The picture that I have taken of a small nylon knitted sample reminds me of my experimentation with wire - it is shiny, almost mist-like and somehow attracting in terms of textures. I think the image represents the idea of painting the air in a way - the sun going through the sample and somehow creating a connection with air but also machinery and production - nylon is purely indutrial yarn. It is a kind of a moodboard image for me.

Evaluation of this stage of the project:

What went well?

The development from draping is looking good, but I still need to add more solid shapes into it. Experimentation with nylon works but it is not possible to steam it - it doesn't melt but it doesn't gets back straight either. Turining some parts of print ideas into embroidery can be a good way to do more refined samples for the collection as a part of outcome.

What did not go well?

I got slightly confused - I got a feedback that is very broad. Some tutors told me not to do research, tohers told me to do that. Same with colour scheme. I think I need to pick up elements that I find most usefull and stick to them. I want to add some more solid shapes into the shilouettes and do more research, but I do not want to change to colur scheme too much. When we had a group crit there was not time for me to show my work. I think we misunderstood the tutors and spend too much time on each person and thats why I did not got much feedback apart from the fact that I was told that it all looks good and interesting. It is not really a feedback, because there is no constructive criticism or any particularly strong opinion on my work. I am not happy about it and hope to ask my friend from the course for some real feedback tomorrow. On the other hand I got so much of opinions from my tutors that are so broad that it could have been quite confusing to get even more of feedback.

How can I move on from now?

Finish the development, prepare work for show of work in progress on Thursday, continue with sketchbook and 3D work (samples or manipulations on the stand).



Continuation of work.

Draping - come back to the wire experimentation following my progress tutorial feedback.

I have chosen one of the experimentation with wire and samples from the beginning of this project that my tutor told me that is sucessfull and tried to recreate it on the body. I used wire to add volume and lift the fabric from the body - to make it really paint the air, to make it suspended in the air and give a cloud-like effect. I covered some part of the wire with my wool yarn that I dyed few days ago to make the wire more visible for pictures and also for me to visualize how the colour will look like. I added my sample in there too, but it is very small, so it is not very well visible. However, I consider today's experimentation much more sucessfuall than the last one, because it is more comsidered and it simply conveys the idea of painting the air better, when the pieces of garments are lifted up. I am only worreid not to make it way too up lifted, becausse it will look like a costume and not like a real garment. Some organization of the shapes and clarifying them is needed. I want to keep this volume and softness of almost cloud like affect, but not get too wild with it, it may look way too overexaggerated and surreal, which in a too big amount may destory the effect of painting the air and make the whole rahter unreadable.

My firend suggested me to use a mirroring app and mirror the pictures of draping to have a ready garment ideas - it was a really great suggestion, because it looks as if the draping was much bigger and bolder, which gives me more ideas for development.

I asked my firends from the group for feedback on the colour scheme - they told me that it is a really sucessfull one, but I need to be carefull not to put too much of dark colour into it, because it may loose the lightness.

Feedback I got from my tutor on the colour scheme was completely different - I was told it could be better if I include more of shades into it and make it more colourfull. I understand it, because with shades it may look good too. but I want to keep this feedback for later development - I have so many things to do now, that if I loose time now for coming back to the yarn and colour research my project will end up being only textile one, and this is not my aim. I need to do design development in order to move forwards - this will help me to include this feedback later on as well, because I will know how the colours are working.

I was also told by my tutor to include more solid shapes into the draping, to make it more wearable. This is actually what I was thinking of, so I am getting there. I simply need to work on that and perhaps do some more research.

Suggestion from my tutor - do not focus on the print too (I am Fashion Knitwear so I ccan have some print ideas but simply do not spend too much time on that - I understand this and agree with it. I need to take more care about the shilouette, as it is equally important) and come back to some pages and add more line ups, because it gets slightly unclear when the line ups are missing. I was told that I could perhaps include some of the draping elements I did before to make the shilouette more organized, because that draping was more closse-to-the-body. I need to think of it still, for sure I need to organize the whole shilouette and rethink it.

After the feedback session I added some line ups to the pages before but I still need to finish it. To bring more shilouettes I also did a small-stand draping with some samples I had before to include them back and make it all connected. I think this part was really needed and sucessfull, because now I have more shilouettes in my sketchbook and the sense of how am I using amples gets clearer. From this small-stand draping I learned that I need to be carefull with fringes and do not make it too tribal, it is not what my project is about. It is also the element of blocky shapes that I need to introduce, to organize the shilouette a bit more. It happens to me quite often at the beginning that the shilouette needs some re-working. I think it is very true with the blocky-shapes ideas in terms of adding more construction to the whole design.

Another suggestion I got is to use fishing wire if the steel wire is not working. I tried it out with nylon thread and it works as a yarn for a knitting machine. I did few more samples with it that I can use for my development from the draping I did today.

Embroidery workshops - it was obligatory to take part in at least one, I have chosen to participate in the embroidery one, because it was a technique I was not familiar with. The effect of it is uploaded on the picture below. I am not sure now if I am actually going to include any embroidery in my work or samples, but since it is also one that includes a lot of hand work and is considered as one of the crafts-techniques I could do some parts as embroidery.

Evaluation of this stage of the project:

What went well?

I have some ideas how to approach the prit in a slightly different way with nylon thread and how to change the wire into something more unbreakable, not like the wire. The only problem with this is that it rolls even more than a usual knit, so I have to find a way to straighten it. I will try steaming it, but I am afraid it might melt. I did new draping and it looks much better than the last one, because it allows me to go away from the very close-to-the-body shilouette and develop more unconventional ideas. I need to remember not to go too wild with the volume and make it wearable after all.

How can I move on from now?

Add more line-ups into pages before. Use samples I did to develop ideas I have. Make more samples, perhaps few that are more detailed and refined and leave them just as a collection. I want to make the collection of sampless for this project really refined - otherwise I won't show it at the end.



Documentation of the workshop


Few of the draping images I took - the rest is in the sketchbook. Reflection on these uploaded above - more solid shapes, not too much of volume as this would makee it look like a costume.



Development of print-painting ideas. From those two chosen areas I have extracted elements I like that would remind me of machinery and did collages with it. I also found some elements that link those drawings back to the collages I did at the beginning-circular shapes - they are a visual references of bolts in the machinery and machine details, so I focused on them quite a lot. I kept referencing to old scrap metal elements and memories of my grandfathers resale shop to include all of that into my print-painting ideas, because that is a way for building continuity in the project. 
Experimenting with print-painting. The photos of the process are uploaded below so I won't describe everything, but just most important elements from that. 
I realized that the print-painting idea looks completely different from the collages I did. Of course I knew it will change but I did not know it would be this much. This is not how I thought it would look like, so probably I will leave this technique only in samples, as it would require further mastering and I do not really have time for that  now. Nevertheless I kept on painting and unraveling, because that is only print technique I can do at home and only one that I know that is so close to painting- this is important because originally bonotto said to paint the air, so keeping it in as close relation as possible would be a good fulfillment of the quote and give the print a metaphorical meaning. The reason why I wanted to find out more particular ideas for it is that I didn't want to make it random and I wanted to interweave elements of machinery to the process of it. However, the effect after knitting looks exactly like the experimentation I did just with stripes so I think it doesn't matter what is the subject-it simply looks like that which is slightly disappointing, because I hoped to have a different effect. 
For this print-painting idea I limited my color scheme to just shades of blue and pink that would fit the shades of yarns. I did it because I wanted to keep the print as an element of sample not a major point in design, to create a mist or almost like a rust on knitting (if referring to the scrap metal pieces).
Evaluation of this stage of the project:
What went well?
I have defined how to approach this print-painting idea and experimented with the way it looks like. I can now carry on with this in next samples. I have some more ideas on how to include fringes into my design when looking at Correllcorrell - the structures of their knits remind me of nalbinding and make me think that I sould keep going in this very fluffy direction to show the cloud - like effect of those structures and elements of fringing in it. Of course I am not going to copy what they did but they idea of making very thick fringes is what I like about it. It's much bolder than usual fringes and makes a bigger statement. 
What did not go well?
The effect of painting it's not very aesthetically pleasing, it looks more like smudges than painting to me. I think it's not that important to make it very clear because I am unraveling it anyways. I will ask my tutor for feedback tomorrow. I also need to speed up with making samples to have 30 before Easter. 
How can I move on from now? 

Make more samples, do draping once again and come back to the experimentation with wire. Ask for feedback.

Fourth Week of Unit 7 - Evaluation of this stage of the project:

What went well?

I have done a big yarn and colour research and I have figured out what my colour scheme is. I got a lot of help during my progress tutorial, so I know that I have cracked on with most important elements of the project - concept, way of going, techniques, colours so now I need to develop that all into a garment. I have enough samples to develop my collection. I am in my action plan, so the time management is working.

What did not went well?

I need to do the draping again, but on a bigger scale. The last one was not working really well, now I have enough textile samples and ideas how to go back - my tutor suggested me to come back to the experimentation with wire, so this is what I am going to do. I think it will be a good way to add some woulme to the garment, because so far it has been more close-to-the body, which is good in a way, because it is more wearable, but I do not feel that those shilouettes I have so far really represent my style and I feel like I can do them better. Further experimentation with that is needed.

How can I move on from now?

Do more samples, accoridng to the feedback, so that I can get as much help before Easter as possbile. Develop more designs for garments. Keep asking for feedback - especially about the print and colur scheme so far. I am happy about it, because the colours represent my ideas, but I want to know what others think about it and my tutors too.








Further research. 
Developing ideas for print. Yesterday I checked if the technique of painting on the fabric was working. Since it was I continued developing this idea today. I need to start thinking about it with collages and introduce myself into print. I use elements of print development sometimes but rather for gathering ideas for silhouettes and not as an actual print development, so it's going to be a challenge. 
Thinking about the tension between crafts and machinery and both methods of production (hand making and machine making) I decided to use elements of scrap metal from the visit to a scrap metal yard and the fax experiment to develop my print. If the print would be based on scrap machinery and then unraveled by hand this would mean that hands dissolved it, changed crate a tension - which means my idea would be communicated through making process. I assembled all into a small installation and draw it (pictures are uploaded on research page). As I was thinking before, I decided to use elements from my last drawings of my paper sculpture too, together with drawings of old scrap pieces - this would make a visual link between both and incorporate those drawings more into my project. 
I was thinking of using elements of old discarded machines in my project, that is one of the elements I have been exploring, so basing my print on old machinery pieces is also a kind of tension between process of designing slow fashion and traces of industrial revolution- machines. Unraveling the print after knitting is also a type of destruction of a machine, because the print is based on machines. 
Being inspired by Tom Duimistra I wanted to make my marks dynamic and stick to my color scheme. I have chosen two areas from drawings to explore tomorrow and have an actual idea what should I paint on my knits as a unraveling-knit-print-painting. 
I also found the brand Correllcorrell that uses old craft techniques to produce their clothes and focuses on sustainable solutions for fashion. Their aw 2011 collection (images on research page) gives me some ideas for how can I use my thick wool yarn to make textures and fringes (like I did before with samples). The fringes should be a unity with the rest of the textile piece and garment so that it gives a feeling of fringed corners and not an attached embellishment. I was also looking for artists or any other references I could use but so far without success. 
Evaluation of this stage of the project:
What went well?
The drawings and collages I did today were very helpful for me to organize my thoughts and clear ideas for this stage of development. I have done quite few of them and now I have clearer ideas how to approach print and how to evolve those drawings into a print-painting design, because I found areas that interest me and look visually pleasing but have this elements of machinery I want to keep - so nails or wires. I also found the brand Correllcorrell that helped me realize how to approach the idea of fringes and how to involve them into my designs. 
What did not go well?
I did not find as much new sources as I hoped to do. I will have to visit library at least once again this week.
How can I move on from now?
I have to finish print-painting ideas. I have found areas in my drawings that I like and now I want to do approximately 4 collages using these drawings and extracting elements from them that I like. It won't be easy for me to focus only on surface design for print and exclude all textures. Then I need to do samples and draping once again. It all takes longer than I thought so I need to be quicker.


Finishing color swatches. I did 20 different yarn combinations to see how yarns work together. I have chosen one color combination that particularly grasped my attention because of the proportions of colors and the way that yarns worked together. It is the one where is navy, chunky burgundy, wire (it's breaking though), woven lime merino and a tiny stripe of pale pink. I then enlarged it and replaced the wire with lime yarn, because it was breaking completely. I don't know why at the beginning I did the swatch and now it is breaking. I tried with different tensions but it's still not working. I will try asking my tutor on Monday. So far I will keep using peppermint instead of wire and I will try to do a swatch only with wire and then weave through.
I did a small swatch with nalbinding with colored wool to be able to see which colors I want to choose to dye my wool to the rest of it. Documentation of that is uploaded below. I have chosen two major colors - pale blue that remind me of clouds and air and burgundy that reminds me of the soviet origins of the factory, and one as a contrast-navy.
Experimenting with print ideas. I first started from thinking about the technique I am actually going to use for that. My tutor suggested me heat press because it is very quick and effective, but I think that it doesn't fit my concept, because it is not a hand made, craft technique. I thought about using lino cut but this would be too time consuming and paints for lino cut would make me go outside my budget. Then I thought of actually painting the print. Originally Bonotto says "Paint the air with culture of hands that think", so I thought of painting the knitted fabric with fabric paint. Because my research and general concept is about air as well, I decided to go for blue paint. I mixed it with silver and white and got a delicate, mist-like pale blue colour. As eventual contrast I have chosen pink but after making swatches in my sketchbook I decided to stay with blue, because it works in a more harmonic way with the other colours. I have alradey a lot ideas going on and putting anoter colour that would be popping out too much would destroy the harmony of colours I found.
I did few swatches only with painting stripes as an example, to see if it actually works. Photos of that are uploaded below and effects after unraveling and reknitting are in my sketchbook. I think the effect is really interesting, although probably not very ground breaking in terms of visual outcome. Now these were just swatches with stripes but when I change the print perhaps the effect of dissloved print will change too. I am satisfied with it, because it is a pure visual comment on Bonotto "painting the air" and this is actually a painted air in a way. But I still feel it can get better. Perhaps I could try navy blue as well to make it more visible, yet not interfering too much with the colour scheme.
Important note:
For lucet using chunky navy acrylic yarn is much more effective - 1,35 meter after approx. 1,5 hour of continuous lucet-making. I will be able to include lucet only in this form in my swatches due to time management and amount of other work I have to do.
Evaluation of this stage of the project:
What went well?
So far my action plan is being fulfilled - I have figured out pink in my colour scheme, I have dyed enough wool and the colour is working as it was on swatches before. I have started print experimentation and this works as well. I figured out how to make lucet quicker - using thicker yarn. I will be able to include it in my swatches, because I will be actually able to make it in a bigger amount. I have chosen my final colours and proportions of them and I am satidfied with thic colur combination because I think it is vibrant yet harmonic and represents my idea fully. Although I will ask for some fedback on it on Monday.
What did not go well?
I have to have some samples for Monday so I have to speed up, the problem is with yarns, because I am running out of them way too quickly. Bigger balls of yarns are needed. Wire is not working as it was before - it is breaking and makes it impossible to knit. I tried various tensions and strengts but so far without effects. The paint I am using for painting on knitted pieces is good, but it makes the yarn very stiff in some points and w bit wet, so even after it is dried it stays stiffer and doesnt slip off the needles well. This results in breaking, the samples are slipping off comletely and yarn is broken. I need to be super carefull when knitting with it or save the lost ladders with sewing them back in.
How can I move on from now?
Buy more yarn, so that my supplies won't run out so quickly. Get final print design - do collages and drawings in sketchbook. Do smaples with knit, print, merino, lucet, sprang etc. for Monday. Do more research. Think about the body - how to put them on the body. Look at ideas from the beginning and draping on small scale. How can this be enlarged? Perhaps looking at designers would help.


Continuation of color experimentation. As yesterday I continued with making smaller color combinations to see how yarns work together. For sure I won't use all of yarns I have researched because I would get lost in ideas and also my budget for this project would be exceeded. 
I also need to find some thicker yarn that I could use to develop the idea of fringes. I got some burgundy and navy thick acrylic yarn. 
Experimenting with weaving in knitting (so on knitting machine) and I really like the effect it gives with merino wool. It's very soft and gives a textural effect of soft air but at the same time it's color suggests pollution. It looks like poisoned air to me. This experiment is successful because the effect looks good, soft, interesting and delicate yet the color is eye catching and intriguing. 
For some reasons that I did not understand my weaving was not working when I did it at my machine for the first time. To make sure I do it correctly I watched a short tutprial which is on research page, eventhough my tutor showed me how to do it much earlier.
I tried same weaving techniques on knitting machine with thick navy yarn and I found out that when I push every second needle out but in a different combination in each row then a pattern is created. It looks like checked fabric. It's not that visible with usual way of weaving. I find it also interesting, because it pushes my ideas for fringes and weaving with them further and allows me to create a kind of pattern.
To see how this actually works with both merino and acrylic yarn I did some small swatches. 
Important note:
Time for including other techniques needs to be carefully thought out. 
Measuring time: to make 1 meter of Lucet I need to have 3 hours when using the thinnest yarn. It looks good but it's way too long. I need to try making it differently - perhaps trying with thicker yarn. Lucet is also too stiff for weaving on knitting machine - it takes the yarn off from the needles. I need to figure out a way to involve it into my samples too. It's more complicated than I thought. 
Evaluation of this stage of the project:
What went well?
I want to do 20 different color combinations and I have almost all of them ready. I'm not very fluid with using knitting machine so I think it went relatively quick as for the beginning. I have some weaving experiments done and merino wool looks really good - soft, delicate but eye catching. It also adds a nice texture. I have a big yarn research done, so now it's only matter of choosing few out of these. I'm glad I tried using bright pink as my tutor advised me, because it adds freshness to the color combinations
What did not go well?
The silver wire is highly breakable. It's almost impossible to knit with it.  I did yesterday a plain sample with just the wire but today when I was using it with other yarns it kept falling off from the needles and breaking and destroying swatches. I need to see if it's the case of tension or strength I use to pull the carriage through the needles. The very thick colored yarn is not working with the knitting machine at all, as well as the navy chunky yarn I bought today. Both are too thick to go through the carriage. 
How can I move on from now?
I need to finish the color experiments, choose one final and get the proportions. Then experiment with print ideas for dissolving print I had earlier (knit, print, unravel, knit again). Do samples and choose those to drape with. My tutor last week told me to devote two days only for sampling. I think it's a good idea because I would have plenty of material then to work on the body. It would also be more organized in terms of working. 
What I also realized is that the idea of exploring the tension of craft and machinery is also a project of exploring the relationship between humans and machines and human borders of working. After three continuous hours of making lucet I had a headache and I felt ill because of looking all this time in the same spinning point of yarn and twisting my tool. I myself become a craft machine in a way and that pushes the boundaries of what work means. A craftsman cannot work as long as a machine, but when repeating for three hours same task I felt like a kind of repetitive machine. It makes me think that this process I am exploring and the boundaries that are within slow fashion and crafts are becoming a kind of performance, a way to find own utopian vision for slow fashion while experiencing what does it mean to work like a machine and where are the borders of human work.


Progress tutorials.

Reflection on feedback I got:

What went well?

My project proposal is ready, so I do not need to change anything about it. My tutor told me to do an extended bibliography section on my documents page where I can add next positions in my bibliography. I need to carry on working. My color scheme is working well, as well as knit techniques development. My tutor suggested me to try pink in my colour scheme as well and see how it works with the rest of it. I do not want to add too much pink, because I almost alwways use pink in my projects so I want to try something different or keep it anly as a smaller element, colour contrast. I was also advised to focus back on the ideas for shilouettes from before, that they were much more developed. I think it is true and that is what I want to do, but first I need to have some more samples to know how the textile will actually behave and how voluminous I can be when constructing with it. I was also told that my research so far is good and I should carry on with it.

What should I consider?

Ask for feedback before Easter to start working on final garment over Easter break. Have as much samples as possible as well as design development (minimum 30 so that I can choose from). I must stick to the plan and be sistematic with work, because it not always stays with the plan as well as I would like it to. Not all experimentation will work for sure, so I have to take it into consideration as well. Especially with the techniques that are so time consuming I should be carefull - I will spend much time doing this for sure, so I have to stay realistic.

What are my next steps?

I did some notes as soon as I finished my tutorial to grasp all thoughts I have, which are mostly about my next steps now. This is uploaded below.

What did I do today and why?

I did more yarn research. I know I have done quite a bit already, but since my tutor suggested me to use pink I had to get some pink yarns. I also did a dyeing session with pink to try out how the thick wool will look like when dyed pink. It works quite well, but I think that if I use the dyed pink wool further I will have too much pink. Blue is for me now more important in terms of meaning in this project, so I want to eventually keep pink as a contrast, more unexpected colour detail. Eventually I could try using pink yarn as a finishing in the parts of the garment, so a similar efect to this seen on my own old garment would be visible. I also picked up my knitting machine today, so I was trying out how the yarn works like. When doing more research for pink yarn today I found also some silver wire that is fitted for a knitting machine. I tried it out and it looks really nice, because it gives a feeling of silver yarn, but is much more structural. When I knitted a small plain sample and put it on the body just to see how it works, it gave a feeling of a silver mist, like silver air. I think it is really poetic in a way and this silver dust looks somehow like pollution around us that flies in the air, as well as the chainmail details or the samples from CSM library I have seen. I was trying out different combinations of yarns in long stripes of plain knits. This is what my tutor showed me to do last week and I think it work well, because I can see how actual yarn will look like when knitted. I did only one stripe, because I am not that fluid wwith working on a knitting machine yet. Hopefully I will be quicker in the future.




Continuing research and sketchbook work.

I wanted to know more about Luddities and I found an article that clarified their history and their relationship with machines, It is commonly said that they were the ones that begun the anti-industrialization movement. In fact, they knew how to use machines well, but they disagreed with the ideology that was changing the working spaces into huge factories. They wanted to save their jobs rather than stand against industrialization as such. Also, they wanted to save their craft, the quality of it and the social meaning of craft as a source of job but also a meaningful design. This is exactly what I am aiming to do - not to defy the industrialization but rather questioning it's role in modern world - is it killing the craft? Is XXI century a century without crafts? Is it the fault of mass production or rather our usage of it? This links to Bonottos conception of slowfactory and to my conception of sustainable craft design as well, because I am using age old techniques to restore the modern craft in a way.

Their behaviour was not against the machinery as such, but against the ideology, which is much more accurate - it is not machine as such that is wrong, it is the way we use them. This thought is exactly what I was thinking of before.

Also, in the book "Sustainable Fashion:New Approaches" I found a diagram which is said to be a description of slow, sustainable fashion which is both ecological and ethical (in terms of working environments, as a link to the Luddities). I aim to fulfill all of those bulletpoints that are stated there, probably apart from any group work on a final garment as this is only my project. I could eventually consider feedback or tutorials as a way of group work.

I had tutorial on writing my final project proposal. I had to change it slightly, because I was told that I should not go too far into the proejct. It is just a proposal, so it should be indicating general idea but not having that many references in the description and not that many ideas tangled up. I had to come back to the stage from two weeks before, because I changed it too much. I learned to be more selective in terms of writing the proposal. I worked on it and then I got checked it again so hopefully now it will be better.

Dyeing wool - last session of searching colors. I wanted to find exact shade of the poppy red that I have chosen as one of my colors. I could not decide between poppy red and burgundy but now I think I should go with poppy red. I still need to think about it carefully.

Finishing samples - I worked a bit on the machine knitted samples from last friday. I added some fringes and nalbinding. I really like the effect of combination of loose machine knits and textural nalbinding and fringes. It also makes me think about the luddities and the history of the movement - these were mostly textile workers and this sory that I found today, that it all begun by a supervisor telling a worker that he was knitting too losely. That makes me think about very loose and thin knits as a way of referencing this history of building tension of craft and machinery. It is really fascinating to know that it was knitting that begun this revolution of craft agains machines and created this kind of tension and suspence between workers and machines.

Evalutaion of this stage of the project:

What went well?

I got my project brief throughoutly proofreaded which is what I rreally needed because of my dyslexia. I found some interesting informations about luddities which are an inspiration for textures of my garment.

What did not go well?

I haven't found much books in the library that were particulary usefull, I hoped to have some more of them. I ill need to continue my research together with work after submitting my proposal.

How can I move on from now?

I still need to develop my ideas for the print. I have not done it since I needed to figure out my colur scheme first and finish project propsal. I also need to make more samples - my tutor told me last time to hold on with draping and firstly focus on samples. However, I need to have some shilouette shapes ideas, since knitwear is also about the construction that can be made with textiles. I must work on that. I will have my machine very soon so that will enable me to start more intensive work on that. I really need to go on the body with ideas, but I also need to develop samples and print. The techniques s htat I will use for print also need to be well thought, so that it all makes sense.



Preparing Project Proposal for tutorial tomorrow - adding bibliography and artist references according to the feedback from my tutor.

Research in the library. I found a book titled "The Culture of Craft" that was mostly helpful for theoretical reading. The quotations are uploaded on research page. What I find interesting is the difference that is put between designer and craftsmen. It seems to me, and this opinion is based on those quotations. that the designer become a main point in the whole idea of design. Not the design as such but the personality and vision a person has. It is important, but not most important. Following a designers vision that is reachable only in his imagination is purposeless, because it doesn't change anything. If the vision is possible to be executed then a design has an impact to change something. To execute a vision the craft is needed. That is why the idea of using craft techniques in fashion development is so important. Obviously, this means slow fashion and its focus on the making process.

Slow fashion is also a way of escaping the factories-photocopies that Giovanni Bonotto was talking about.  A celebration of the unique is also what makes craft so coherent in this context. The designer makes slower but more meaningful fashion. That results not only in sustainable methods of production and positive ecological impact but also a design that carries a message and really makes a difference. The aesthetics of a design lies in it's process of production as well as in actual style of it. Modern concumer societies should be aware of that, especially when surrounded by tones of useless objects. It is not the effect of machinery that caused such an overwhelming amount of stuff we have to deal with - it is also humans who lost their perception of what is enough. Here is the tension between both that I was thinking of - people would not be able to function  in modern world without machinery of any kind, but they misuse it.

In this book I also found some information about a group called Luddities that was present in England in the very beginning of Industrial revolution. I asked my friend from London about them and she told me that they were actually breaking textile machinery, which is even more intriguing since this links it very close to fashion - especially fashion with knit, as it is based on textile development to a very big extent. I want to know something more about them, since that also links their activities to my experiment with breaking fax. Obviously fax is a different kind of technology but it is quite impossible for me to get any kind of actual industrial machine I could breake,

I also found an artist Tom Duimstra who concentrates on mark-making in his pieces and majority of his work is about objects that are discarded and he wants to give them new meaning. This is a bit like reworking scrap pieces of metal by turning them into sculptures. Using old to create new.

His painting inspired me to get some ideas of how I could approach the idea of Printed Air. His approach to abstract composition and dynamism that I could use in my print too. The colour scheme he is using is quite similar to mine so this links both elements even more.

I did some more yarn research and I found very soft merino wool in a perfect light green color that goes with my color scheme and also one that is light blue. I also got some blue yarn that has a slightly silver tone - it reminds me of steel shine and armour (although I abandoned the idea of armour almost completely and intervowe it in a different way into my project I find this shiny, metallic effect interesting). Having found this light green merino wool I decided not to dye the thick wool in green but try only another shade of red (also because I couldn't find lime tone in any of the shops I have been to and seeking fir a right colour with mixing would take too long).

Evaluation of this stage of the project:

What went well?

I have some more contextual research, which places my idea in a defined area that I am interested in. Craft as a way for future development of slow and sustainable fashion on many areas. I found some more yarns to experiment with.

What did not go well?

I can not do much more samples now because I have no knitting machine. Hopefully I will get one very soon and I will carry on with making samples. Then I can also do more draping that would include them and give some ideas on how they would work on the body.

How can I move on from now?

Do more research on Luditties and get more information about them. Go for a tutorial on Project Proposal and finish it. Work in sketchbook on print and more draping ideas.



Working on a color combinations and right shade choices. I organized my yesterdays yarn research and I'm really satisfied with the fact that I found shades that were exactly the ones I needed.
I also dyed the very thick wool I bought yesterday. I wanted to incorporate it as a wool for nalbinding, because it is more effective with thick yarns. I tried it with dylon colors and I was searching for right shades of it to match my color scheme. I tried it with Navy Blue, China Blue, Burlesque Red and Forest Green. The usual measurements of salt, water and dye were half smaller (because I was only dying the samples so smaller pieces). Temperature remained around 80celcius degrees. I tried each color with a different time measuring to get the right shade.
I'm really satisfied with the effect of China Blue in 5 and 10 minutes. It is exactly the color I have chosen from my color scheme and it reminds me of polluted sky or dust clouds. The effect of Navy Blue was good too, but it was so intense that the timing didn't change anything, it was always same dark which is fine because that still matches the shades I have chosen. Burlesque Red worked well only after 30-45 minutes. I want to try the shade slightly brighter as well, because I have chosen a yarn in more of poppy red shade too. The green did not work at all. It gave a horrible, faded mint shade that doesn't match my choice of bright lime green at all. I need to do the dyeing once again with those two colors. I won't choose all kinds of colored wool of this thickness though because I don't want to get tangled up with colors. One of main elements of my project is to have a vibrant color scheme but I can't overload it because it will look messy. I need to consider well where each color in the shilouettes goes and how it all looks together. 
Third week of Unit 7 - Evaluation of this stage of the project: 
What went well? 
I have developed some shades of colors that match my color scheme really correctly and I'm satisfied with it because it is a successful fulfillment of one of the main elements of design process that I have learned on Foundation- right colors in design make the piece complete. I got some help from my tutor on Thursday and I know how to control the knitting machine and how to manipulate stitches to create a pattern I want. I know how to translate it into a graph paper and how to count the rows. I know how to develop proportions of my color choices. It all was incredibly helpful because now once I have a defined and certain color palette I can use all of that again and develop more samples in a more thoughtful and effective way. It was certainly one of the most fruitful weeks so far because I have a clue how to edit my work successfully.
What didn't go well? 
The tasks we were given to do on Monday were a bit confusing for me. It's not because I didn't understand them but it's because I was on a slightly different way of going on the body and those tasks seemed too misplaced for me. Obviously I was incorporating these ideas into the draping and then into my samples but I don't think that those ideas look good in any way. It is so because it seems to me very random and not giving the message I want to show - the idea of sustainability and tension between craft and machinery. I haven't chosen my samples ideas yet, I know which ones I want to develop more on the body - knitted samples with holes and nalbinding and probably the ones wwith sprang will stay as a collection (I have to be realistic for the time management). I still want to develop the print too, so that would change the samples as well. Hopefully I will do this over this week, or at least do the experiment with print.
How can I move on from now?
Dye more wool to find right colors and then choose some to dye rest of the wool. Develop more samples and put them on the body - do draping again. Develop the idea of print and printing the air. Do some more research on it - perhaps using the drawings of my shape sculpture would work for that but with combination of drawings of the broken fax (that I would need to do). This would allow me not to abandon the tasks from Monday completely but to involve them in my process in a different way. Breaking the fax was mostly driven by the idea of getting some shape references and ideas for preparing collage papers. However when I look at this now I see it from a different perspective- breaking the fax is a way of constructing the tension between machines and man. If I use it for print development I will reuse the old, discarded material (fax) to create new, just as my grandfather reused old to make new. If the print would be then printed onto a knitted piece, unraveled and reknitted again, then the effect would look like painted air. Also by making everything by hand and focusing on crafts the machinery based print would "paint the air" of a product made by "culture of hands that think". It's a way of fulfilling Bonottos utopian dream within a sustainable future for fashion.


Finishing color palette from yesterday. I did quite a few color development stripes to see all colors I found. Later I picked 20 that I liked most and from those I have chosen only 11 (ideally I should have chosen only 10 but I couldn't decide). From those I did bigger stripes of color samples to do a "mix and match" wheel of colors. I was experimenting with various combinations of the colors, which are all recorded below on pictures. 
My final color choices are:
Light blue- to show the concept of polluted air 
Navy blue- also responding to the idea of pollution but darker 
Burgundy red - to keep in mind the references of Soviet factories; red as a color of Socialism; not that intense though, simply because I feel that the darker one is more appealing 
Lime (or light green, it is a hard to define color) - to show the mesmerizing and glowing colors of pollution, almost a sense of radioactive color or a kind of danger connected with it 
Having done that I went for yarn research. I was recommended to go to handweavers to look for yarns. I found few that match my color scheme really well. I also found a great, chunky wool that would be perfect for nalbinding- after recent experiments I understood that it works much better with thicker yarns. However, the wool is white so I have to dye it and see which color would be best on it. I also did research for dyes in Cass Art and Ray Stitch. 
Having in mind the idea of painting the air and the print that would be dissolved I choose white, acrylic yarn that would catch the paint from printing. I need to see if this works but first I need to develop any ideas for it. I think of using this old fax that I destroyed previously to do some collaging paper for classes. I did not use the paper for anything but the idea remains. This would be also an embodiment of reusing old pieces of machinery to create a textile- just as Bonotto does for with the fabrics but in a different way. The dissolved parts would be almost like old discarded and broken machinery- parts of it are always separately and they don't create any exact whole. This makes me think that maybe the print should be originally more defined and realistic (just as old machines are before being broken) and then it will become dissolved by reknitting the yarn (almost as a metaphor of the tension between machines and crafts- crafts dissolves machinery and puts it together into something new (a new print), both machinery and hands work alongside each other. It's really poetic in my opinion and somehow mesmerizing. Makes me really interested in this topic.
Evaluation of this stage of the project:
What went well?
I have chosen a color scheme that represents my project in a different, more considered way. I'm really satisfied with the new colors, because each of these represents something different and meaningful in my project context. My time management also worked, because I visited few shops despite short opening hours and a long distance to go.
What did not go well?
I didn't found exactly same thickness of wool as the green one I was using before for fringes and nalbinding. I got some that is thicker but it's white, so I will need to dye it and see how it works with nalbinding. I think I will also have to do a bigger nalbinding needle that will be suitable for this thickness. 
How can I move on from now? 
I need to organize the thread research in my sketchbook and figure out which shades of red ( I bought few different to find one that is closest to my scheme) go best with other colors. I need to dye the wool, identify what measurements of dyes give exact color from my color scheme, dye bigger pieces of wool in each shade and then nalbind with all longer pieces to see which option gives best results. I want to choose just one nalbinding option, or maximum two, because I don't want to get tangled up with colors and thicknesses of yarns. For lucet and sprang I want to stay with using hand knitting wool, because that's the thickness that goes well with those techniques. Using a thinner type of yarn would result in those techniques being even more time consuming, which would be too much. I have already lots of ideas and techniques involved, many textures and colors and I feel that I should start editing it down, because I'm getting confused and lost in all of these. The final piece must look good, but to achieve it I can't get tangled up with my own ideas. I would simply overdecorate the piece without any purpose. I have to stay moderate and don't get too carried away. It's also a part of editing which I believe is crucial for independent study.


Tutorial for Project Proposal - working on description of the project and bibliography.
Archway workshops - I learned how to cast off properly with a tapestry needle. Handout is uploaded below.
I was experimenting with ways of casting on to create bigger ladders that would make a fringe like effect and make the sample opened for air and dynamic. I got some help from the technician and I found out that when I cast on only ten out of 25 needles a huge ladder is created in between. This really looks dynamic though I do not think I will keep using it in this form, because the sample would be too weak to make a shape out of it. I also tried to experiment with holding but it was unraveling when I moved two needles forward instead of one. I think it was because the loops that were put on hold and the ones that were holding got overlapped, which resulted in one huge ladder. That was not my intention, so I will keep diving the holded area with a part of plain knit, in case anything goes wrong again. All of that to find a right approach to fringes. So far it looks too tribal. Probably because of the colour too, it is all just way too heavy.
Drawing my pattern on a graph paper, so that I will know exactly what I did and I won't forget the stitches. My tutor told me to do that on Thursday and I think it was a really good suggestion, because it makes the pattern much clearer.
I also tried to do the holding stitch that my tutor draw for me on Thursday, but I couldn't make it. I asked the technician to help me but it turned out to be too complicated, so I stayed with the experiments with casting on the samples.

Developing more considered color scheme. I did exactly what my tutor suggested me to do- I picked one image from my research, which is a photo of a factory in glowing and mesmerizing colors. I have chosen 5 areas where the colors are particularly appealing. I started to develop colors that match those areas best by using watercolors (it's easiest way to do that I think). However, I have chosen more than five colors from each at the beginning,because I was looking for a right shade of each color. I didn't finish it yet, because it takes quite a long time to find all right tones. 

Evaluation of this stage of the project:
What went well?
I managed my time really well, because despite the amount of things I had to do, which were not connected to the university, I had the time to go to the tutorial and be at Archway for quite long, so I actually produced something. I started to develop my color palette which is what my tutor told me to do as well.
What did not go well?
I did not managed to develop entire color palette today. I have to finish tomorrow.
How can I move on from now?
I need to finish color palette and do yarn research. Then I will need to use the same technique of developing color proportions that my tutor showed me last time. Then I have to do samples. My tutor told me to do draping after I have all samples ready. But I'm afraid it might be quite late. On the other hand, it is quite impossible to really realize how the textile will behave on the body without having it. I could try doing some draping with old jumpers to get any sense of how it is going to work. Also I think of including back the elements of machinery to the shilouettes. Not as a literal piece of metal though, but rather as a shape reference. This would also make a connection to the idea of reusing scrap metal- creating a shilouettes out of those shapes would be a way for it. For sure I will need a knitting machine to make samples. I will have to plan my work well because now I don't have access to any other machine than the one at Archway.


Today was incredibly helpful when it comes to the guidance and progress I did. It was because of few reasons explained below:
Firstly, I showed my samples to my tutor and I was told to organize the idea of how am I actually going to place the holes in a garment, so that they would look good and made on purpose rather than randomly made and without particular consideration. 
To achieve that I learned how to cast on with an E wrap which helped me to do a clean start of a sample and a straight line of knits. Then my tutor showed me how to do a lace stitch on a machine, so playing around holes and ladders. I understood how to make a pattern and how to read it - to make it I should count the needles I am using and number of stitches I want to do up. Then count the rows and place holes and ladders in each number of rows I will consider appropriate for a pattern. When stitching I just have to count the rows and the pattern appears. 
I also learned that to do a hole I should pull the needle to the front and to do a ladder I should pull the needle to the back.
All of that was extremely helpful, because now I can take it further and make my own patterns. 
I experimented with these techniques for developing a sample with holes in a blue knit and some fringes. The effect was really good, because the patterns that I experimented with looked much more considered and appealing. There is a repetition which lacked before and when I included it into my samples it all started to look much better. 
Secondly, I know how to do a really considered color proportions. I did it by doing one long stripe of knitted fabric with horizontal stripes of chosen colors and varying the proportions of the stripes. I was counting all rows of the stripes and I written them down on a long stripe of paper, so that when I place it next to the stripe of knit I see number of rows next to the color. My tutor told me that the color scheme looks a bit too dark and I should change it into something more vibrant and at least add some contrast. To do the one long stripe I have looked back at my research and I choose navy blue, bright red, bright green and olive green with some additional orange hue and grey. When I found right proportions of my chosen colors I enlarged them accordingly to a bigger sample, so I multiplied each number of rows by six. It worked really well, because the proportions remained the same but the sample was six times bigger. 
When doing the bigger sample I also used the pattern that I experimented with a bit earlier today. Apart from this pattern I also learned how to do holding. I placed each second needle forward and changed the carrier into a H position, then I did three rows and changed the position of the carrier back to N again. When repeated a very fragile but vivid pattern appears. I'm very happy with the way it looked even though that was only some experimentation. I know I still need to consider my color choices much more and to do that I will do what I was told to do yesterday- analyze a chosen image and find right colors. 
I was told to focus on color scheme and samples now and give two days only to making samples. The draping comes next, as I should know more precisely how the fabric will look like and how will it work on the body.
An idea I was given by my tutor: 
Stitch a plain piece of knit, print on it and unravel. Then knit will that printed thread but a new piece. I think it's a really good idea, because it responds directly to the idea of painting the air - if I do it on a light blue piece of knit and then stitch it into holes I will literally be able to paint the air. I want to do some experiments with that but I need to develop some print first. I am thinking of using parts of a broken fax for that. I did some paper mark making yesterday to eventually use it for collages today, but I didn't. I still need to think about it but the general concept is really intriguing.
Feedback session with partners from the course. Reflective questions we were given to answer:
What techniques did you learn today?
I learned new stitches for a knitting machine - a lace stitch, holding. I know now how to do a ladder and how to do holes. I know how to measure stitches and enlarge them into a sample and how to edit color scheme. 
How am I going to use it in the future?
I want to experiment with stitches of holes and ladders and develop samples with them, especially that now I know how to plan a stitch. Holding gives a really great effect that I want to develop in next samples too. This can be still combined with other techniques I was exploring before, but the most important part is that I know how to organize it. I know how to edit the colors so as soon as I have analyzed picture of my research I will be able to edit it. The only thing is that I can't go to Archway tomorrow, because I have a merry with ual student services and student support shortly afterwards as well as a talk I would like to attend. I need choose my color scheme and do a good yarn research before I continue sampling, so I have to be quick. I will use the technique of enlarging samples to define my final proportions in the project as well. 
What went well? 
I'm really impressed by the possibilities that open when having a right pattern of stitches. The development of samples is much more visible now and it gives me a hope that I will make my samples better. 
What didn't go well?
Actually today was really successful and I learned a lot of techniques I want to use, so I consider all my work today as successful. Of course I need to edit down the colors but I overcome a bit of confusion when it comes to sample ideas.


Development of the draping from Monday with samples from Tuesday. 
Experimenting with pleats - pleating with tuile was too complex, it was constantly unraveling so I tried it with calico underneath. I wanted to secure tuile so that it won't unravel when sewing. This worked nicely because the pleats were looking neat and tuile gave it a kind of haze which made me think of air. It links to my research and previous experimentation which I wanted to include into my draping. 
The development I did was not really good in my opinion because the shilouettes were too simple. I know I oversimplified my shapes last time but I had to develop this part of the progress on the project first before moving onto the next step and new draping as I would get tangled up with all ideas. I already feel I have too many of them and I need to edit it down and choose most suitable for this project. I am sure I need to do draping once again but that would be after tomorrow's workshop, in case we are given a similar task to do. 
The color scheme I have chosen now is same as it was for sample experimentation before- light blue, dark green and red and silver(or gray). With this color scheme I have developed the draping ideas. I remember though what my tutor told me about the color scheme- to choose it in form of analysis of pictures. I still want to do that, but I can't do everything at once as I will get lost. That's why I decided to stick to this color palette now and not go to the yarn shop today - I wouldn't manage to do all of that in one day, because if the distance and time it takes. 
Tomorrow we are going to have some workshops, so I decided to prepare a bit of collage paper ahead. I had this idea of breaking the fax machine as a way of creating textures or shapes. That's why I actually broke it and started to draw with pieces of the machinery. I was trying to do simply some textures based on my samples and using colors from my color scheme. 
The documentation of this is on research page. 
Evaluation of this stage of the project:
What went well? 
The pleat experimentation went well, especially the one with pleats layered with tuile. I don't know if I will really use this idea for my project, as I want to design only one piece that ideally would be all hand made with the knitting techniques I developed. If I would be designing a collection then perhaps this idea would be more useful (for a variety in a collection). 
The experiment with breaking a fax was useful and went well, because I got some pieces to draw with and prepare some collage materials. 
What didn't go well?
Still the development of garments need reworking. I don't find the ideas I come up with today very interesting, because they are too flat. There's no construction in them. 
How can I move on from now?
It depends on what we will be doing tomorrow, because I don't want to go way too ahead. It is hard then to include new workshops into my thinking. I need to do new draping for sure, a visit to a yarn shop and analysis of color scheme.


Continuation of work.
Yesterday I took into consideration what my tutor told me about the sketchbook ideas - add off the body drawings next to the ideas so that even if there is no drapingthe general idea is clear. I did that and I think it really works well. I also found a successful way of presenting off the body drawings as a small line up done with a fine liner only. This gives a clear and neat idea of what the pieces would eventually look like. I also finished the illustrations from yesterday and added some details of human bodies and background. 
The pictures of draping I did yesterday are not yet developed as today we were told to focus on working outside the sketchbook and preferably as samples or draping. Since I haven't developed the draping from yesterday I decided to focus on samples (also because I wanted to do more nalbinding)  and develop the idea of painting the air with samples - so the concept of fringes or holes that expand the texture of a sample beyond a flat surface.
I also experimented with the garments I bought and cut up one sweater into long stripes (to extract the gray color that I was interested in using, it goes well with light blue and some of my previous color experimentations) and then reworked it on a knitting machine. What I didn't like about the effect was that I couldn't knit the sweater as a continuation of my knits but I had to overlap it so it creates a kind of layering stripes. I don't really like this effect because it doesn't correspond to my research images at all and it is not a continuation of any previous samples I did. I think I need to edit this idea down, if I would have time I could focus on that more, but not now, I have to find some other sample ideas. The used knits are not that important to sho the concept anyways.
The good part of today's experimentation was nalbinding with soft wool (chunky one). The texture of the wool is great - nice in toutch, soft and really mesmerizing. It's size makes nalbinding bigger so the different technique is actually visible and when combined with machine knitting and holes gives a nice "stable" contrast in texture. However, I don't like the colourof the wool. I did some color wrappings yesterday to get any ideas of how can I edit down my color scheme to achieve best and most interesting results. I have chosen dark green, blue, brown and lila to experiment with. I considered this color palette as the most natural when it comes to the research images but when I looked at it today I thought it looks way too organic - all colors (apart from blue) respond to earth colors and it gives an association to completely different topic than air pollution or crafts and industry. I have done some samples with this color scheme and I do not consider them as useless, because i developed some textural ideas. However, colors need to be changed. Perhaps not all of them, but I really need to edit it down. 
I asked my tutor for ideas on editing color scheme in a way that I would find easier. It's quite overwhelming to choose only four colors from the research when there are so many of them and each is intriguing.
My tutor suggested me to choose some pictures from my research that I particularly like in terms of colors and analyze them in a bigger scale. Choose areas that I like and identify them with a squared piece of paper. Then choose 20 colors that I like and identify them with paint (my fine art practice will be useful). Then do a "mix to match" pieces of paper from those chosen colors and choose six as a final color scheme. Then I can edit this six colors to four or five colors so that I won't get tangled up (it is nice to have six colors for a collection but in one garment it may be quite tricky so I have too be careful). I could use a bigger color scheme for the small collection of samples eventually. 
I find this feedback really used because it's actually a complete guidance to what I should do with the color scheme. I'm going to do that. 
I also took part in the stitch workshop today, because I was interested in the idea of pleating and gathering fabric. Yesterday when doing off the body drawings and collages I identified the striped structure of the roof on my grandfathers resale shop. I was using this as a reference earlier with some thick cardboard but it wasn't until yesterday when I realized I could interpret it as a pleat. The workshop was helpful for that because I learned how to do pleats, gathering and chanels. I think of experimenting with these structures but I need to develop some ideas from the draping first, to know what to do. 
Evaluation of this stage of the project:
What went well?
The idea of nalbinding with soft wool gave a really nice and textural effect. I learned how to do pleats and other fabric manipulations that I can use for my project. (Although I want to focus on a garment that would be knitted in whole, without much fabric - it is also a bigger challenge because it is not entirely easy to get volume on the body with knitted fabrics) I have a clue how to analyze the color scheme for my project and rework it. I know I have paid quite a lot of attention to it already but since is the last project I really want the colors to be considered and not chosen as quickly as I always do. It then causes problems when going onto the silhouette and enlarging them on a body. 
What didn't go well?
The sample with garments from second hand shop, because it didn't make the structure I wanted to have. I was thinking of connecting it flat on a sample, not in a form of layered stripes. 
How can I move on from now?
Develop draping in sketchbook, analyze color scheme. After that I will need some yarn research and more draping but I can't do it all at once. 
Below are the handouts from the workshop:

download.php?file=2826254&view=249378&embedded=1&textbox=2826261      download.php?file=2826256&view=249378&embedded=1&textbox=2826261      download.php?file=2826258&view=249378&embedded=1&textbox=2826261



Work done today:
- shapes extraction 
- Drawing paper sculptures 
- Shapes development on the body 
- Draping 
The shapes extraction was something I have already done in my sketchbook yesterday so I was a bit confused - I had already some draping ideas and shapes extracted and I didn't want to take same shapes out again. That would be too repetitive and I don't want to repeat anything in my sketchbook. There would be just no point for doing it. I decided to extract new shapes from the collages I did yesterday. I wanted to choose some shapes that are more geometric than usual shapes I choose, because the theme of industry somehow responds better with more blocky shapes and layers or them than fluid and organic lines. Although I wanted to have a variety so some are probably more fluid. 
The pictures of my sculpture are uploaded below - I have only one picture because in the rush I forgot to take the picture of the first one. I know it's a mistake but when realized I don't have it I already destroyed the sculpture - the second one it same as the first one but with one shape altered - one organic shape was replaced by a more geometric one with long stripes.
My design development pages were only focused on shapes today that were extracted from both my sculptures and the previous collages I did. I wanted to mix them up because I didn't wanted to abandon some shapes that seemed to me potentially interesting that came from my research to machinery details. My tutors told me to simply my development pages, they were too colorful and looked more like fashion illustrations. In order to do that I was gradually eliminating each shape that was too complicated and random and I ended up with few more clear ideas. However I am not very happy about them because I don't think they represent my personal taste. They look too flat and simply underdeveloped. They become too simple. Although I tried to enhance them by adding more complexity to them I didn't manage to do that on time, before we were supposed to do draping. That's why I am not satisfied with the draping I did as well. It doesn't correspond to the ideas for silhouettes at all and seems too flat for me. It's not looking intriguing at all, rather random and messy. The problem why it happened that the draping doesn't work is also because of the fabrics- I didn't assume to have that kind of more volumed shapes to work with so the calico was too soft. The other thing is that we were told to cut the shapes exactly as we had for our sculptures and it was impossible to manipulate those shapes the way I wanted them, because they were just different. I should have had thought about it before and it's my mistake of the lack of consideration for what we are told to do and the way it will actually work with my drawings. Obviously it is incredibly helpful to listen to the tasks carefully but I need to also think about what I am actually trying to achieve in terms of silhouette. 
I need to rework the draping as soon as I possibly can but I really need to consider the shapes better. 
The drawing I did I tried to keep in color scheme from my research but without any particular colors combinations. I did it on purpose because I still know I want to experiment with color so that the situation from last project where I was struggling with final color choices would not occur this time. Although I know I need to choose colors (more thoughtfully) after today. 
I also asked my tutor about the work I did over the weekend and I was told to develop some drawings in the sketchbook as some ideas are a bit unclear so it would be easier to read them. 
I also need to do some drawings fro the photos I did today. I am not satisfied with the draping but I don't want to throw all this work I did either. It doesn't look good and that's true but I still can fix that. 
Evaluation of this stage of the project:
What went well? 
Drawings and transition in the shapes from the collages into shape extraction. I was afraid that putting this task into the collages would distract the narrative of the sketchbook but I don't think it did. It still makes sense visually.
What didn't go well?
Draping and shapes choices. I think the draping didn't work that well because of the shapes I extracted and the fact that I didn't choose the right fabric to get the most of them. 
How can I move on from now? 
Work in sketchbook and develop shape ideas that would be more interesting and work the way I imagine them (or at least a bit more the way I want them to). Do the draping again and consider what you are putting on the body. Prepare for workshops tomorrow. I also hope to do some more samples tomorrow, especially with nalbinding, as I haven't used this technique that much as I wanted to so far.

Paper  sculpture:




Development of samples - ideas for how to put them on a body. Draping on a smaller mannequin with my samples and some pieces of scrap metal to give it a bit of volume and shapes to extract to drape. Since we were told that tomorrow we have the draping session I needed to have some ideas about how can I form a silhouette from my samples. It worked really well, because the samples combined with scrap pieces of metal gave an effect of a real garment and communicate the elements of industrialization from my research translated into garments effectively. Scale makes it easier to visualize and achieve very dynamic and massive shilouettes. Of course they require some reworking because now this would look slightly random, yet there is a lot of shapes in them that could be potentially developed. Now I should enlarge the samples and put them on the body. 
I draw all ideas I had so that I can come back to them tomorrow. I also used some images from the research I did on Friday. It all fits well together, but I really need to start larger draping to see if it works.
The color scheme is still a bit blurry although blue, red and green seem to be best choices for now.
Evaluation of this stage of the project:
What went well?
The idea of draping on a smaller scale to get ideas about how to move onto a human body was a good one. It gave me a sense of what kind of shilouettes I can achieve and how could I construct them. 
What didn't go well?
I think that the development from samples to small scale draping could be more visible. I am concerned about the clarity of my sketchbook, especially in terms of narrative. I need to ask someone for feedback. I tried to make it clear but it's hard for me to assume if it's clear enough. 
How can I move on from now? 
Do larger scale draping with consideration of the shapes and ideas from today.
Second week of Unit 7 - Evaluation of this stage of the project:
What went well?
I have overcome difficulties in my research and I changed the concept into more broad yet defined topic - craft. I went "out" of medieval times by continuing with research and getting some help from study strategies team. I fulfilled my schedule for this week. Only changes that were made were caused by need to research more (for example I havent chosen my clour scheme precisely, I have some initial ideas that I am experimenting with). I am not worried about that now, because I think I needed researching more than the colour scheme. I have some initial draping ideas to enlarge, which is even better, beause I did not plan to have some work outside my sketchbook this quick. I developed another technique of textile making - sprang that is relevant to my topic, because it is time consuming and requires a lot of hand work. I involved pieces of old machinery into my designs withput making anything that looks like robots or anything of this kind.
What did not go well?
I did not get the feedback on exhibition reviews, simply because I was advised by study strategies to look at it later and now focus on proposal. I haven't done a big fabric research, because I do not know yet what my final color scheme is. I have made some experiments but it still needs clarifying.
How can I move on from now?
Enlarge draping and continue sampling textiles. Choose colour scheme and all yarns. Ask for any possible feedback.


Sketchbook work – finishing samples.

I finished the brown sample by adding some more textures to it. I wanted to combine it with sprang and lucet too, but when I did the piece of sprang I wanted to include it started to unravel, so I had to wweave through it. This gave a really nice effect of sprang/weave textile piece that I decided to keep as a separate experiment.

I added some fringes to it too, as I find this idea of unravelling fringes and holes quite poetic and it reminds me of the quote “we want to paint the air” from Giovanni Bonotto. The texture is like soft cloud when the fringes are added. The holes make the piece collide with air in a more dynamic way. This is actually a good idea, to expand the garment by holes and fringes, to make it dynamic and interfere with the air – to paint the air with my garment.

Fabric research. I decided to buy some calico (not the most stiff one, as this thickness gives more possibilities to experiment) in a neutral colour. I also got some fabrics that reminded me of the structure of the air – tulle and blue cotton, very thin one. I used some of it in the sprang sample. I think it gives a nice effect of the air, without being too literal. It reminds me of air in texture.

I want to experiment with felting on tulle or using it for weave on a knitting machine. It gives a certail chic to the kind of “trashy” (on purpose) samples. I wanted them to look like they are old, used and almost “scrap”. Tulle gives completely another dimension to it, emphasizing the chic of it and making it more intriguing, because of the contrast of textures and textiles. Tulle is not though to be describing trash or scrap pieces of metal. This is also a kind of tension that reminds me of the suspence between human and a machine that I was thinking of earlier.

Designers research for Monday.

I wanted to see some workwear examples of steel mill workers, but I did not find anything interesting. Majority of workwear is very similar to each other and it doesn’t inspire me at all.

I decided to look for sustainable knit designers or designers that emphasize time consuming techniques or craft in their work. One very interesting designer I found is Xuly Bet who was reknitting old knitwear and stitching it back together. I really like the idea of knitting in old knits, so this is something I would certainly like to experiment with. Hopefully we have time to do that on Monday. I am not interesting that much in stitching the old knits but rather creating something completely new from them. Like my grandfather's machines - once old after he reworked them were new again. Leutton and Postle have inspired me to think about stitching the old garments into patterns or reusing them to create a new piece of textile. I will try knitting those old garments onto a knitting machine, but if it will not work I wil try to find another approach to sampling. I do not have that much time tofind a solution to every idea but I rather have to find an idea that works. I also do not think that using old garment will show the idea of painting the air that much, so I will experiment with that but depending on the effect I will either take it further or not. The visual images of Fernand Leger are what I think the knitted pieces could look like - if I will not achieve this effect I will focus more on fringes and holes as this is what conveys the message of the project better. The samples would interact with the air more than when using old knits.

Evaluation of this stage of the project:

What went well?

I finished some samples, which is what I wanted to do.  The experiment with weaving into sprang worked really nicely, so I am satisfied with it and I will probably do some more experimentation with that soon.

What did not go well?

I did not find any particular historical reference for my project, apart from the Guild of Artists and Craftsmen (see research page). It is not inspiring that much in terms of clothes, rather underpinned by similar though processes. They also cherished craftsmanship. The only thing is that they wanted to go back in time and stop the development. I am interested rather in what Bonotto is doing - combining crafts with machinery to create a perfect symbiosis.

How can I move on from now?

I think I should extract some shapes to work with on Monday, as I know we will have some workshops on draping. I could do that with either draping with samples on a smaller scale manequinn or doing some collages or both in combination. I think I will try both, I need to see first how the small draping goes.




Scrap metal yard visit.

I found there some pieces of old machinery and pipes that I want to use for my experiments - described yesterday.

Also, I got an old (working!) fax that I can destroy.

Thrift store visit – I found a red scarf that I want to use. The colour is similar to the thread I was using. It has loops big enough to stitch through, so I will bring it with me on Monday.

Now I want to focus on finishing samples. The two I did yesterday are scanned in my sketchbook, but I want to fix the broken one. I did some sketchbook work today, but I did not managed to finish it though, other visits took me too long.

Evaluation of this stage of the project:

What went well?

I found some metal pieces that no one needs and I can use for my project. I did not expected it to happen, as it was not easy to find anything, which is quite surprising. I got some old clothes, though I still need more.

What did not go well?

I did not managed to do as much sketchbook work as I wanted to. I need to focus on that tomorrow. The samples take a really long time to make, because of the techniques. Although, I have some shape ideas from my collages that I can develop next week.

How can I move on from now?

Samples – finishing, fixing. Sketchbook – collages with research images. Shape extraction. Experiment with old machines ( I am not sure though if I will get any hamper or anything to breake the fax, so probably I will have to wait for Monday and do it at Archway workshop.




Continuation of work.

Having in mind a slight shift of direction from focusing on air pollution to focus on craft I rewrote the project brief which is uploaded on document page. I want to focus on the idea of using craftsmanship as a mean of long term reduction of air pollution. Seek sustainable solutions in new approach to the production of fashion.

I asked my tutor for feedback about this idea and the project brief. I was told that it is good and that I shouldn't worry about it too much because it's just a draft and the idea may be changed.

My tutor advised me to look closer at the deconstruction and reconstruction methods, machinery and scrap pieces of machines and develop shapes from my primary research images to work with.  I was also advised to look for museums with machines that I could visit over the weekend.

Thinking about the idea of machinery and humans I got intrigued by the tension between humans and machines and the fact that craftsmanship would not be able to function without them and the other way round. Having machines people started to appreciate craftsmanship. At the same time - machines were built by people. They are both beneficial to methods of production (they allow for a bigger precision for example) and detrimental (traditional approaches to craft die out, air is polluted). This creates this tension and energy between both that results in a suspense. I find it really intriguing and poetic at the same time. Perhaps that would be next step of development, to try to recreate this suspence in my design process. Something like balancing on the line between hand work and machinery.

I researched yesterday and today more about the craftsmanship as a way of development of sustainable fashion. I found the brand "Bonotto" that creates unique textiles in a craft based process. Here are some quotations from the book "Fashion Oddysey" where this process of creation is described:


“Therefore he [Giovanni Bonotto] resolved to invest in quality, considered not just as specific features of the fabric itself, but as a totally new cultural approach. He invented the concept of “slow factory”, with which he pointed out the idea of giving a cultural dignity to the fabric, or what he calls a “soul”.“

“He collected pre-war mechanical looms (the ones other companies discarded because they were inefficient and slow), restored them and started producing a type of fabric nobody is now able to replicate. A particular kind of fabric with defects. Only experts and highly skilled artisians are operating these machines”

 from: "Fashion Oddysey"

This made me think of what my tutor told me earlier – defects, the element off a fabric or garment that cannot be made by an industrial machine almost at all, but can be by human hands. This gives the uniqueness to the piece. This idea of making things look old was what I was suggested to think of before as well. I really like this idea, because this also creates the suspence between human and a machine – old, useless pieces need to be fixed or replaced by new. The point is that they won’t be. There this tension appears, almost like a protest, but not rejecting machines completely. This also makes me think about using parts of old machines as a way of making samples or drawings.

I am thinking about the aspect of deconstruction of a machine that my tutor and my classmante suggested me in terms of simply breaking it. To get to the very center of a machine. I need to find an old piece I could destroy. Fernand Legers painting resemble in shapes a deconstructed machine - perhaps I could use the experiment of destroying a machine to get shapes for the body, like he did for his paintings - this will work with the idea of exploring tension of human and machine, just like Fernand Leger did. I could try incorporating elements of machine details into the designs too, but not be too descriptive.

This brand and it’s philosophy are by far one of the most important elements of my research, because it links together m thinking of craft and machinery.


“We want to paint the air with our hands”

Giovanni Bonotto


Giovanni Bonotto uses this description as a way of representation of his aims to create magical and unique textiles. In context of my project it also fits to the idea of making a garment in a way that is not polluting the air. It is truly poetic and makes me think of stitching in the air, fringes that move around the body, holes that open the garment for air or giving this soft and delicate texture to my samples. I think this could be felt or tuile or soft kind of yarn.


I was experimenting with some knitted samples as well. I wanted to move from the partially paper samples to something more accurate, as the time flies very quickly and I need to start actual work. If anything is wrong I can edit it later on, but I need to begin at least. I was using knitting machine for the first time ever and I enjoyed it very much. I did two samples that I consider ready and some more to finish with nalbinding or lucet.


While making I had some ideas and observations:

-       Sprang can be only intervowen into the sample when it’s knitted in from the side that was casted off before. In case it’s the other one it’s unravelling. (One sample got destroyed because of that, so I am going to rework it with weaving or some other techniques).

-       It is much easier to work with knitting machine, so I will use it for my project from purely technical reasons – to do one garment only with very time consuming techniques may be slightly too time consuming. I need to keep balance between both. Also, knitting machine gives a nice and quick skelethon for more experimentation.

-       I had the idea of fringes. It gives a very nice and soft effect, almost like painting the air around the garment. I could include it in some next experiments.

-       I do not consider these samples as real samples in any way, it is more of practice with knitting machine and colour experiments.


Library visit.

While discussing my work with my tutor I was told to look at some details of machinery as well, so this is what I did. All of that is on research page. I think that these images are inspiring for shapes more than textrus but it is good, because that is what I need now. I have a lot of textural references. I will try collaging them as garment ideas in my sketchbook.


List of tasks to complete by Monday:

-       Garment research – we were told to look at some sustainable designers or historical garments or examples of workwear. I have some historical references already (medieval times and armours), so I want to focus on finding some designers.

-       Charity garments – we have to bring some charity clothes. I want to bring some knitwear. I remember our tutor showing us how to rework old knits on a knitting machine. That is what I am thinking of now.

-       Drawing materials, needles, scissors, glue and pins

-       A3 cartridge paper

-       3-2 pictures on A3 from our research that we think represent the research best


Evaluation of this stage of the project:

What went well?

I learned how to use knitting machine and I know how to manipulate thread on it, I experimented with sprang and found a way to include it into a sample. Knitting machine is really effective so I can use it further in the project too.

What did not go well?

I still have no particular colour choices. I want too keep it still open and experiment, but it should be more precised. I defined few colours that I like most from my color schemes so far: light blue, red, dark green, brown, orange and light purple. Silver and kobalt blue are treated as a contrast now. But it is too much. Before the workshops on Monday I want to choose a colour scheme, at least first version.

How can I move from now?

Get some old, scrap metal and experiment with it. Find a machine or a device which is no longer needed. Finish samples from today – finish the brown sample and the small blue one, fix the sample that got broken. Do some more collages with the images from today’s visit in the library. Think of the shilouette. Don’t forget to make it symmetrical, not like the last time during lace project. Do the tasks for Monday.

The yarn shop I want to visit is very close to Archway, so I will go there next week and buy yarns I am sure I will need – I must know the colours before so there is no point going now.




Independent study day.
Yesterday my tutor suggested me to change the direction in my project as it was too tangled up with references and ideas. To look back at primary research.
In order to overcome this difficulty I went for a tutorial with Study Support tutor which was very helpful. I analyzed the feedback I got yesterday- to look again at the resale shop of my grandfather and think about any new possibilities of approaching it but having in mind parts of my research so far that I want to keep. 
I realized that there are two main ideas in my project:
1.air pollutants protection from it
2.sustainable slow fashion as a way of reducing air pollution and redefining the approach to production technologies.
Analysis of both ideas and possibilities they give me:
1. I will have to design a piece that is actually protecting and this doesn't seem interesting to me at all, as I am not a scientist and I do not want to invent any kind of filter now that would prevent from air contamination. I simply do not find it as inspiring in terms of fashion and my own personal relation to it.
2. The idea of slow fashion is much more engaging to me as it focuses on craftsmanship as a way of development for sustainable fashion. Juxtaposing the mass production of Steel Mill and mass pollution with craftsmanship and slow fashion as a way to fight pollution. It links to the resale shop of my grandfather much more than I initially thought - he was fixing machines by hand, reworking them and giving them new look and selling again.
There comes the idea of craftsmanship, nalbinding, sprang and lucet as a way for sustainability in fashion, so modernizing these old approaches or working with old clothes (like old machines) and using these techniques. Treating air pollution as a staring point and going more further away of that. Finding long term solution for the matter of air pollution in sustainability.
Key ideas to focus on now:
- fixing, repairing old machines
- the clothes that were made by hand and reconstructed from old clothes
- craftmanship in modetn fashion
CHANGE OF DIRECTION (Still before submission of project proposal):



Note from yesterday : Developing Sprang technique that my tutor told me of as a way of creating own net. I constructed own frame for that with cardboard. Initial samples are working, tomorrow I want to continue with experimentation of this technique.


Feedback session with tutors in groups and individual work.

Tasks that we had to complete:

-3 2D or 3D objects as responses and experimentation from research with consideration of:









-Group tutorials


Reflective questions to answer:

What was the experimentation I did today? Was it successful?

My experimentation today was to use Sprang as a technique of developing own net and include in it other yarns or wires I was using so far. Also, to use nalbinding with other materials and kinds of wires to achieve various textures. I was answering to the images I have in form of mark making to push textural research and ideas for the body.

It was successful - Sprang is working also as a combination of knitting and weaving, it is not falling apart. Nalbinding is possible with wire although it is quite hard for me to find the right loop, because the wire is quite thick, so it is not easy to manipulate it. I also started to incude ideas from armour seen as pieces of chain mail so far. I know I do not want to go too far into armour, as it is not my point to make an armour as a final outcome.

In my collages and responses I focused on colour, texture and shapes.


Did you produced what you expected? If not how was it different?

I did - I produced more than three manipulations - one collage with textures, one mark making response and two samples with new techniques. It was not much different from what I though it would be, but I also did not wanted to be too focused on my expectations and simply experiment, so that I could get something more unexpectable. I still haven?t chosen any particular colour scheme and it is because I do not want to limit myself now.


What do you need to focus on now? (list skills, techniques, analysis or different design development tools)

List I did during feedback session:

-sample making and technique experimentation in response to the images

-go back to the primary research or look for other approaches into armour and push the idea further

-do not stay at the moment you are now

-develop sprang

-analyse pictures of primary once again and look for new possibilities of approach

-start think of the body even in terms of free illustrations


If you got stucked today what was that?

Despite the fact that I did experimentation in my sketchbook I got a bit stucked. The feedback I got today was to rethink the cocept throughoutly ? it is too tangled and the idea is unclear. Do not stay in medieval times and look at the very initial images of the shop once again.

That is what I did to get unstucked and continue researching - I did a long brainstorming session with my friend from the course. The mind maps are uploaded below. However, I need to find more focused point in this whole research to go with.

Deadline for submitting the draft is soon so I have to be quick.










Sharing research ideas – feedback session and continuation of work.

Firstly I get feedback from my classmates – in pairs and then as a presentation in a group of six (although we were presenting the project of our partner, not ours).

Feedback from my partner and my group:

The project is interesting, because it relates to a personal topic. I was told to continue with the idea but not to stay in medival times for whole duration of it, as this would be boring if produced as an armour. I agree with this and it is also what I want to do, to push it somewhere else. I do not want to make an armour but use it’s structure or shapes that would give the feeling of protection.

In order to achieve this shapes I will need to work more in my sketchbook. I have some samples and manipulations already, but I should have more. I need to focus on sketchbook and making more than I did.

The competition of pair that has best project was not won by me, so I was researching for my friend from the course as a helper.

Feedback from my tutor:

-       To the project brief: add artists and/or designers that inspired the project most.

-       Mention more the actual concept than the journey before it – pollution of the air, armour and protection

-       Think about modern techniques based on old yarn manipulations (this also links to the idea of technology as a set of rules that I was reading about at the very beginning).

-       The concept is interesting but I need to push it somewhere else from the idea of armour. The Arts and Crafts movement that I wanted to research is a nice reference but I should use it only as a reference not as a final way of going with it.

-       I have done enough of research to start sketchbook work. I should start making as soon as possible so preferably have some primar samples now, next to the collages.

-       I should carry on research but work more in the sketchbook now.

-       I could look at crocodile stitch (although this one is difficult, so I should be prepared for few failures at the beginning) and sprang (an ancient method of making net which connects to the green net I was using).

-       Idea of showing the age of techniques – making things look older or have a kind of rusty effect. (it seems intriguing especially for mark making, so maybe I will use this idea just as mark making reference, I do not know now, I will have to try it out).

-       Check the technique of Sprang - oldest known technique of making fabric.

Reflective questions that I was asked by my partner today:

Where you see yourself taking your research next?

I see myself looking at Arts and Crafts movement and the ideology of craftsmanship as a way to reduce pollution and give another trajectory to the speed fashion. ( That was before I was told to research more about the general idea of protection than the actual idea of Arts and Crafts, so now I think I could look for more technological information about protection against air pollution any anything that I will find that is connected with it).

What are your main sources of primary and secondary research?

Main source is my home town – Cracow in terms of the air pollution, place where my grandfather had his resale shop and glass house, as well as in the meaning of craft and mass production. Secondary research is mmostly books and online resources such as tutorials on techniques or specific images that are not available in books.

How will you begin to develop your research into making?

Making samples in response to the mark making ideas and then turning them into on the body manipulations. It is always quite hard for me to move from the stage of just free experimentation onto the work on the body, especially when samples are quite textural and rich in details that are not easy to reproduce. Last time I found it effective to do a “sample of all samples” so do a kind of skelethon of a sample and try it on the body. Also doing pictures of a person that holds the sample above in a distance so that it is well visible and looks bigger is an effective way of enlarging samples without the actual need of making them.

I am sure I do not want to make a piece which would resemble armour at the first glimpse, rather something that would have certain shapes or qualities that would remind me of armour. At this stage I can not really tell what that would be because it is a matter of experimentation that is to be done.



Rewriting Project Proposal for tomorrow's submission. Organizing bibliography, time management and action plan. Adding some adjustments from tutorial - explaining the concept in more detailed form.

Organizing research page and all references.

Sketchbook work. Responding to the research images with mark making and textures. Experimenting with wire and pipe. I think twisted wire is a good way of responding to the images of details of machinery. I also included some metal parts of nails and pins to visualize machinery details. I want to keep it broad now and free from any color choices or particualar visual editing to find as much various references in terms of shapes and textures as possible. I still remember the workd of my tutor from the very beginning of part two - remember to stay as abstract as possible for as long as possible. This is exactly what I want to do at this stage of development.

Critique with a classmate from the course - sharing what we have done and ideas for going further. I was told that my research is good and I shouldn't worry about it being misunderstood. Also, that my project proposal is quite clear to work as a draft but I should probably clarify it more by reorganizing thoughts in the project description. I did it after the feedback so I hope it will work better now.

First week of the project for Unit 7 - Evaluation of this stage of the project:

What went well?

I found an intriguing topic, visual referneces and context for further development. I have Project Proposal draft and I have completed all tasks that we were given. The bibliography is big enough at this stage, although I aspire to broaden it as the project goes on. My time management is working for now, I have completed what I wanted to according to the time planning. I have started sketchbook experimentation - this already makes it more enjoyable for me. I overcome some points of being stucked in a research - I did it by doing more research and chainging  point of view on things, for example on steel and thinking of magical aspect of it. I think I have found intriguing branches to go with or this project that could be  starting point for deeper research.

I was a bit afraid of approaching this project, as I have never done anything about any kind of social awareness  before. Though I think I managed to fid a topic that is personal for me.

What did not go well?

I could have found more books related to my ideas. Although I still can do that next week, so I want to certainly change this aspect of my bibliography. I also should have started the sketchbook work slightly earlier. Perhaps it would be better to do that after I found images of Astroemeria, but I do not think that I did it way too late aither, as beginning this week I had more directed way of going so I knew what I want to communicate and pursue in my work in sketchbook. I need to find a good way of organiznig biblography, as it takes too much time. I think organizing it ino alphabethical order wwould help. There are too many soources and I keep missing names.

I become slightly concerned about the plan for my project. I forgot to ask my firend for feedback about it as there were already lot of different questions that I had. I hope to get some help with that from Study Strategies or Student Support soon.

How can I move on from now?

Gather feedback from other people. Hopefully tomorrow at tutorials I will have chance to share my ideas and project brief I have written. Then I could think about really what to do next, although I would like to carry on ith research on put a bigger amphasis on sketchbook.




List how you will fulfill your aim and your objectives in this project: (objectives are usually more specific than an aim. Think about the methods the skills and techniques, the processes):

- The origins of the factory as a soviet kind of gift and the methods of production on a huge scale – generating huge pollution made me think of using knitting machine as a way to show it.
-       Cracow being a medieval city with a history of trade and manufacturing inspired me to think about medieval techniques – Lucet and Nalbinding to show the juxtaposition of trade and craftsmanship.
-       In my opinion now the fast peaced fashion is causing huge amount of pollution, craftsmanship as a way of refining contemporary fashion approach is what I would like to explore in this project as well
-       Armour was always made only by hands, it’s production is a craftsmanship process that includes steel (connection to the Steel Mill) but is a complete juxtaposition of mass steel production. This makes a link to the values that Arts and Crafts Movement put on the hand made work.
-       Armour as a way of protection agains air pollution and showing the potential of making pieces by hand.
-       methods: facing machine made knits with techniques of lucet and nalbinding as a way to show the contradiction of mass production and craftsmanship.
-       methods: experimentation with various materials in possibly most abstract way.
-       skills: markmaking skills in order to develop textures; objective look at own work – for evaluation and reflection purposes; editing skills for effective time management
-       techniques: Lucet, Nalbinding and machine knitting
-       processes: sample development process combined with shape and work on the body.

List and think about your audience. Is there a purpose to what you want to do, or a specific user or group it is for? 
-       There is a purpose behind it – to raise a discussion about air pollution and the effect that factories have on it. To highlight the effect of mass production that changed the nature as we knew it and started to work against us.
-       I do not aim to solve all problems connected to air pollution, I am not a scientist and it takes years to find a really clear and effective way of prevention from air pollution. Though I believe that a possible way of going is to focus on craftsmanship and use this forgotten knowledge to protect ourselves from bad impact of the hypernatural environment that we did. I want to raise a discussion by creating a piece that grabs the attention of the audience.
-       Keeping my home town as an example of a polluted city I want to reach broader audience in terms of contextual meaning.
-       The persona that wears it has to be certainly someone for whom wearing a garment is a statement. Who cares about environmental issues but at the same time is not afraid to raise discussion.

Are there any Theories tied in with your theme? (theory can be ideas or sets of principles) 
-       There are but I use them rather as an element of research than a theory I have to stick to. The idea of sustainable production using forgotten crafts ties in with my research about Steel Mill factory. Juxtaposing manufacturing techniques of machine made knits and handcraft is a way of expressing this. The ideas behind greenpeace and actions that are ment to raise awareness and gather focus among people. Talking and questioning as a way of gathering attention. As well as the principles behind Michaelangelo Foundation to show the potential of craft.

Can you see re occurring themes in in your work developing? areas you are interested in or inspired by?  For example - If you are interested in something like architecture think why? What aspect? What does it make you think, in what context? 
-       Yes I do see such themes. These are: music, history and nature. They reoccur in various ways, sometimes just as an element of broader context, or a reference but sometimes as a source of primar research and inspiration.
-       When it comes to music it is because of my musical education (7 years of piano lessons, choir leading). I use the musical references I know from my childhood. The genres I am interested in are quite broad – from classics to experimental electronic music. This is very helpful for my design process in recreating a mood, an attitude I am thinking of. Sometimes writing is not always enough and there has to be something more presented that would show the ideas behind the shilouettes in the clearest way possible – it is music. Also, when designing I imagine the garments as if the music was playing in the background which ties it into the context of a garment.
-       History is also appearing as a source of inspiration because of the fact that I had extended history throughout majority of my education. Especially history of art and literature. The past interests me in a way that is connecting it with present times. Mixing various historical contexts to create my own vision. I am not concerned about dating each historical period but rather ways that certain period is connecting to present times.
-       Nature is probably because I was raised in a house with many animals and huge garden. Extended science and biology lessons, mountain trips and my familys background of biology and chemistry is something that formed my interest in it. I believe that nature is a great and broad source of inspiration, because it is something that can be modified or recreated but it still lives apart from humans. Its very complex and works almost as another world alongside ours.
Are you working within any parameters, rules, restrictions enforced by you or external? (for example the Bauhaus movement had specific design rules it followed) 
-       No, I always try to think as broad as I can and I do not want to apply any particular rules into my work in general. Although, I know that colour and a well thought choice of it in each project is characteristic for me. It is because of my previous art experiences and experimenting with painting and various mediums of mark making. I think colour has a great power of changing the context of any work, as it evokes feelings and associations we are not even entirely conscious of.
-       Textures applied on the body are what is main point of my interest – that is why I have chosen Fashion Design with Knit as well. Tangibility adds another dimension to the garment. Obviously any garment is tangible but I am thinking of the fabric that it is made from. Both shilouette and the textures on it are important for me to create the whole piece the way I imagine it.

What is the context of your project? Would it be a very different project in a different context? (Look up the meaning of context and the different types e.g. cultural, historical etc.)
-       The context of my project is historical – the history of my city and the origins of air pollution. However, it is not limited to be focused only on that particular city, it is just an example to show the problem to a broader audience. Cultural context of it is sustainability and prevention against air pollution with references to medieval techniques of knitting.
-       Visual context - I want to do just one garment that would be rich with textures and details. If I would change it into a small collection it would be a negation of my thinking, as I want to focus on quality of making process and not on the amount of it. It is also a certain context when it comes to presentation of my work and the historical and environmental origin of my research.
-       There is personal context of it – asit is inspired by my home town.



Gallery visit - Eduardo Paolozzi at Whitechapel Gallery.

His works really remind me of what I was previously looking at. His sculptures have textures of machines but the shilouettes of them reminds me of armour. I think I could use this inspiratin in my sample development - especially textures. It already reminds me of the surfaces I have done, so it would be a relevant way of going. Markmaking on his collages is similar to mine and some of his drawings look almost like combination of both armour and machinery - harsh shapes with antropomorphic features. His work inspires me to make a very detailed textures - like all those elements of machines that are kind of frozen in his works. Organic shapes but with industrial element.

Review of this exhibition is uploaded below.

I also researched another charity - to complete the task of having minimum two. It is a Michaelangelo Foundation and it is a non profit organization that connects craftsmen and women from various places in Europe with artists and designers in order to provide local workers with possibilities for development and to maintain traditions of making. It also emphasizes the idea of going green - sustainability in design seen as development of craft. It is what I was thinking of when researching nalbinding and lucet- to bring crafts back into the world. However, they also inspired me to think about the style - do not make anything that looks crafty in a bad way, use crafts to make uniqueness.

Sketchbook wwork. Still only as visual references and mark making ideas, so it is hard to reflect on that now. I did not choose any particular colour scheme now or materials. I still have quite a lot of time for this project so I want to try all possibilities that the research gives me and experiment with various colurs. It is also because I think for the previous project I have chosen the colur scheme too early and then I had to change it. I would like to give myself more time for mark making and visual responses and collages in sketchbook so that is wwhat I want to focus now on. What is in my interest now for sure are those circular shapes that look like bolts - I think they represent industrialization in a good way, because they are not literal (circle could represent a lot of things) yet have the connection to my images. They also remind me a bit of Paolozzis textural elements. I am not sure yet how am I going to bring them in, but they seem intriguing.





Looking Back Into The Future - Eduardo Paolozzi's Exhibition at Whitechapel Gallery

Eduardo Paolozzi was undoubtedly one of the most influential British artists of his time. An impressive retrospective at Whitechapel Gallery shows four decades of his creative work that still remains true to todays audience. Paolozzi’s diverse oeuvre that consists of paintings,collages,sculptures, textile pieces remains influential even today and Whitechapel Gallery shows it all.

Born in 1924 to a family of Italian immigrants Paolozzi begun his artistic education in 1944 in Edinbrugh. After graduation in 1947 from Slade School of Art and Central School of Art and Design he moved to Paris. His stay there was very important for his own artistic development. Being inspired by French cubism and surrealism he begun to define his own characteristic style and established The Independent Group – first collective of artists who defined themselves as British Pop-Art Shortly afterwards he gained an international acclaim. Paolozzi was also a design tutor at many universities in Europe and in the USA. He died in 2005 in London.

The retrospective in Whitechapel Gallery is very well organised and shows his artistic transition and veriety of inspiration behind his work in a chronological order. The visitor travels through Paolozzis artistic world that consists of vibrant yet unsettling (especially in his early years) sculptures, collages, prints and garments based around the theme of human versus machines, technology and mass culture. The exhibition space is very well organized. Each area of the display is carefully described providing detailed information about both works and Paolozzis life. It was also a good choice to mark every room of the display with a different wall colour. This helps to get a sense of a new period in Paolozzis oeuvre – for example the influences of the 60s and his change in depicting industrial elements, from rough to polished surfaces. These features exhibited on a black background shine even better in intense lights and the shift is emphasized. Details like music alongside his latest, more playful works is one of those elements that make the pieces speak even louder to the audience and share the energy of each composition.

The final room of the display can be seen as Paolozzis comment on the culture of the world – “The Exhibition of Humankind” and various artefacts from different origins gathered together to create a new whole. This closes the display in a rather unexpected way and leaves the visitor with a sense of not seeing all. This is a result of not marking the exit in any way, so the visitor instead of entering another room finds himself outside of the display with a feeling of leaving the exhibition too early.

Whole display is very well thought and enables visitors to understand all aspects of Paolozzi’s work. It presents his pieces in a clean and chronological way. The viewer travels with Paolozzi’s inspirations and ideas through his life. Eduardo Paolozzi was a great artist and the exhibition presents that. Moreover, his work is still understandable for the viewers, which makes his vision of the future from the past contemporary.

Pictures from the exhibition are uploaded on workflow research page.



Tutorial for Draft for Unit 7 Project Proposal. Changing the Draft after tutorial. Writing a review on the Josef Frank's Exhibition (uploaded below, at the day of the visit). Organizing research page.

What I need to remember about writing this Project Draft is to clearly explain my thinking. There were many factores that formed my thinking and although I consider this project idea as relatively simple the connections between each topic and the reasons why I have chosen to research this and not any other thing need to be clarified.



Writing draft of project proposal for tomorrow’s tutorial. Organizing research and reflection pages after recent museum visits. Organizing bibliography.

Sketchbook work. Organizing all the research and mark making ideas. Visualizing of idea of air pollution in a sample - idea of padding with soft felt to show the smoke going out of the chimneys. It looks intriguing now but I do not think I will take it further because padding was in my last project as well and I do not wat to repeat same techniques that I used for this project. It is a summary of my work, but not necessarily in that way. It is just the beginning of work so it is hard to reflect on that now. I did not worked in sketchbook before, as I wanted to gether enough research before. Now I think it is a good time to start, because I have enough of research and ideas for textures and references. I do not planned to start that much of sketchbook wwork this week, I would like to do that next week, after the project draft submission.



Museum visit.

Royal Armoury Collection at White Tower. I wanted to see armours in details, how they exactly looked like and how they were constructed. What interested me in particular was the chainmail that reminded me of those I saw in Cambridge on stained glass. I had the opportunity to try a real chainmail from medieval times. What I learned from that experience is that chainmails were constructed separately - long stockings and a sort of t-shirt. They had a texture of chunky knit though made from steel. It was really complicated to produce a chainmail and it took months to execute one. It was also a matter of craftmanship to do one, so it matches my idea of including hand crafted elements in my project. Some had leather shoes connected into them and small holes finished with leather to adjust the chainmail to the body. These details seem to me particularly interesting, because of their textures and I hope to use them in my designs - the little circles connected one to the other remind me of some of the circular shapes I got from my collages. They really look like knit. I also learned that cheaper version of chainmail was padding. I could try to include that as well eventually. I used padding in my last project and I do not want to be too repetitive.

I also went to Fashion and Textile Museum to see the exhibition of Josef Frank. I hoped to see there something slightly different, yet it gave me some more ideas about contextual development of my project and further references - Arts and Crafts movement and their princpiles of production that I could research in the future. Josef Frank was inspired by what this movement achieved and William Morris as an artist. The review of this exhibition is uploaded below.




Designing Eden- Josef Frank's Exhibition at Fashion and Textile Museum

          Josef Frank (1885-1967) was an Austrian architect and designer. Over his life he developed a bold and vibrant style - one may compare to Henri Matisse's late cut outs or paintings (take "The Dessert: Harmony in Red" for example). Born in Vienna into a Jewish family he had to leave in 1933 when the anti-Semitism was rapidly growing and the spectre of war loomed. He was already an accomplished designer by that time. Having completed a doctorate in 1910, becoming a professor shortly after IWW he established his own design company in 1925. Spotted by Estrid Ericson in 1932 he moved to Stockholm to start working as a designer in Svenski Tenn. He became one of the most influential modernists designers of his time whose aesthetics formed what we today recognise as the Swedish design.

Now Fashion and Textile Museum in London offers a unique exhibition presenting more than just a retrospective of an influential figure. Not only displaying his mesmerizing textile designs, rugs or furnitures - the exhibition features a rare collection of Frank?s watercolours. An area of his artistic development that remained unknown until today.

Straight after entering the display a small room furbished only with Frank's designs introduces to his optimistic and rich style. The motives of Eden, spring, blooming flowers and ripe fruits are reoccurring in all of his works - each precisely described providing the visitor with detailed information. Long rolls of printed textiles suspended by the celling allow the viewer to admire his pieces in its whole, almost as paintings. In the soft, delicate light the multi-coloured prints vibrate with its positivity. Designs are displayed alongside drawings and some of them are accompanied by original sofas or armchairs covered with Frank's prints. Welcoming and ready to sit for the viewers they invite the visitors to plunge into Frank's joyful world. However, works are not exhibited in a time-line order which is slightly confusing at some moments as it remains unclear why this certain form was chosen. Same lack of clear methodology can be seen at the end when Frank's connection to Arts and Crafts Movement is being repeatedly presented . If the Arts and Crafts references had been showcased in one place it would make the  connection in Josef Frank's inspiration much clearer.



Exhibition room furbished entierly with Josef Frank's designs. Image taken by me.



"Mirakel",1925-30, designed in Vienna and later produced by Svenski Tenn - Josef Frank's print inspired by William Morris. Image taken by me.


The lower floor of the display gives a sense of Josef Frank as a professional designer, his sources of inspiration and style. The second floor, slightly divided from the rest of the exhibition shows another face of Frank - him privately as an artist. As the description says: "Painting made him happy". This becomes immediately clear when looking at his watercolours (with a surprisingly good condition of pigmentation thanks to lack of previous expositions) - idyllic still lives and house designs for his relatives and friends. Both parts together create a full picture of Josef Frank as an artist and as a person.

Throughout whole display the visitors are provided with a clear and well-written description of every room, which certainly broadens the knowledge about the display. All the writing can be also found on the brochure available at the entrance - a way of reflecting and consolidating for the curious ones. Its neat layout and acceptable amount of text makes it easy to read. Although it might have had more illustrations, as this would enhance its composition.



"Italian Dinner",1943-45, designed in New York for Svenski Tenn. Image taken by me.



"The Dessert: Harmony in Red", 1908, Henri Matisse, Hermitage Museum. Image from .


As Henri Matisse famously put it: "What I dream of is an art of balance, of purity and serenity devoid of troubling or depressing subject matter - a soothing, calming influence on the mind, rather like a good armchair which provides relaxation from physical fatigue". Josef Frank created this armchair and Fashion and Textiles Museum invites its visitors to take a seat.



Museum visit.

I hoped to find some nalbinding examples in Victoria and Albert Museum -I did not find anything. It seems that this technique is very rare. I tried asking some tourguides but they did not know where in London can I find any example of it.

However, I saw some designs of armour from Renessaince – it is only a proof for me that armour can be seen as garments. It’s design required a great knowledge and understanding of technology of making it as well as the need to meet the expectations of clients. This also makes me think of maedieval crafts - to make armour it required a great expertise. Those craftsmen were very skilled yet today all of that is forgotten. It is also a coontextual inspiration to put a bigger emphasis on crafts and it's role for future development not extinction.

Organizing research page and bibliography.



Library research.

Frank Stella’s sculptures that I found today in the library visualize my thinking well, because of the textures and elements he uses. Metal pieces in a dynamic, bold composition that is attacking the viewer. Slver parts of these pieces represent steel, armour and machinery, the colorfull, textural parts remind me of flowers or stained glass. They are really mesmerizing. This links them to my topic and makes me think about possible textures - some yarns or fringes that would represent this dynamism is what I should try. Armour seems quite plain yet having in mind these references, the industrial mess I saw before and my grandfather's resale shop it starts to become much more textural.

Technique research: I found a really intriguing essay on the internet titled “Medieval Knitting” by C.Laning. From there I started to research Nalbinding – it is a “mother” technique of knitting and it was developed in ancient times, though popular until 19th century, especially in Scandinavia. It was a technique used mostly by Vikings therefore it’s popularity in medieval times is spread across the regions where they had their villages, so Scandinavia, British Iles and the area of Baltic Sea (Poland as well). I was trying to practice it, it seemed weirdly simple at the beginning, yet after first try I understood it is not simple at all. I still need to practice it, it is really complicated.

I also found a medieval technique called Lucet which is basically cord making.

Both techniques require tools that are not easy to get. A nalbinding needle is accessible either in Viking shops or in Scandinavia. I decided to reproduce those tools by my own to save time and to emphasize the element of crafts - making tools by myself is also a way of fulfilling the ideology of handwork, as only one piece of such tools can be made and it is done especially for this project. It worked – pictures are uploaded below.

These techniques make me think of what I was thinking of when reflecting on the origins of the Steel Mill as mass production and mass pollution -  consumerism vs craftmanship.  Craftmanship as a way for fashion to reduce pollution and to reduce pollution in geneal. Making objects by hand makes them last longer and be more detailed. It also gives them a personal connection of both wearer and maker. It is a real way for industry to stand against mass consumption, although it is not much known. It is probably because of the fact that not many manufacturers are left, almost everything that iss around us was created by a machine.

Also, the techniques of Lucet and Nalbinding are medieval so relate to the history of my home town and knights.

General idea behind is to use these techniques in a juxtaposition of quickly made machine-knitted garments and slow craftsmanship techniques in contrary.



Library research - looking for a proof that the topic I am thinking of choosing is correct.

Looking at different types of armour. The abundance of drawings showing various kinds of armour is huge so I decided to pick those that I found most interesting and unusual. There was also one that was an example from Poland – this made me think about and specific examples of armour from Poland. I moved onto looking at books about Poland and Cracow. Some of those armour examples have really interesting shapes that I would like to develop or experiment later on. Definitelly I do not want to make an armour as such, but I really think it could be a good starting point for more research and Project Proposal.

In some of them, like in “Portrait Of Poland” by Bruno Barbey I found images showing more the air pollution than armours of any kind, so I decided to upload them in the section before, so that the link between both pictures would be more visible (like the image of a man plounghing a field with a huge factory on the horizon and the one showing a man on a field but with a Toyota instaed of an ox). It is also a proof that the problem with air in Cracow is not easy to solve – the picture was taken a couple of years ago, which shows the scale of pollution. It was bad back then, but now people are in a greater danger. When I lived there there were daily announcemments about the air condition and advice to stay at home.

Also, I wanted to see if Bruno Barbey visited Poland once more to possibly take more pictures – it turned out that he didn’t but I found other photographers from Magnum photos (Carl de Keyzer, Erich Lessing, Robert Capa, Mark Power) that did. I have chosen few images showing Nowa Huta Still Mill in Cracow – also uploaded a bit before, next to other Steel Mill images. These photographs show the Still Mill in a different perspective than the ones I got before – people are actually working, the factory is alive and because of that it is easier to visualize the heat and noise of it as well as the scale of the machines. This makes me think of the amount of work that was done there, It is easy to say that is iss huge, but when looking at these pictures I really understood it. It is second biggest Steel Mill in Poland. I think those images of workers present that well. This also links to the idea of working space I was thinking of much earlier - how the workers were actually using the space and how small they were compared to huge machines. This contrast makes methis of Jean Tinguely sculptures and how they resembled humans in a way. Here humans resemble machines, because they are almost dissolved in the surroundings of machines. It is a really intriguing contrast and makes me think of tension between human and machinery. The work ethos representing that by the surroundings of the work.

However, in the book “Stary Krakow” by Adam Bujak I found images of typical Polish armour - Hussar's wings and karacena. Those examples of armours are younger than medieval armours, as they date from renaissance. However, the fact that the knights had wings on their backs has the connection to air - wings are associated with flying, moving in the air. This is another element that links armour to my topic. I also found the note that because of the air pollution the monuments are dissolving and cracking. This means that same things are happening to our bodies when being in a polluted area. Stone seems to be more protected – it is hard and heavy, human skin is much thinner, as well as our lungs or veins. Methaphoricaly this means exactly what I was thinking of before - the idea of hypernature that is not only about new species of flowers. We lost control over it and the hypernatural machine is turning against us. Though I do not want to sound scary (as Edward Burtynski said - environmental organizations have used the stick too much already). My point is to show how it is and possibly find my own answer for this problem.

This research is a proof to me that choosing this topic gives a lot of various possibilities of development. It is also common enough to be  understood by many people yet personal to me so that it is really interesting to me. Although I still need to find some interesting techniques for this project. Having in mind the origins of air pollution - steel factories and machines in them I want to use knitting machine to present this. But possibly I would like to find something more exciting than just knitting machine.

Material research - a visit to a shop with builders tools. I thought about visiting this particular kind of shop as I wanted to find something that would remind me of my sketchbook markmaking and research images. I found colorful wire and a dark green mesh and a plastic pipe that reminded me of some of my research images in terms of colour and textures. They represent those industrial elements from my research well. I think I should try experimenting with wire in my samples as this is an element that reoccures in majority of my images and represents the element of industrialization as well as the steel research and armour I have made.

Evaluation of this stage of the project:

What went well?

I have found an area I would like to research further - the winged armour of hussars. I also have already some material research, which is good to have it that early -- it will enrich the research even if I will decide to change some of them later on.

What did not go well?

I did not found many pictures of Polish armours in the books, so I will need to do more online research. I still haven't found any technique that would fit the project.

How can I move on from now?

Find a right technique to this project. Look for some artists references that would visualize my thinking about the project. Go to exhibitions - look for some that are related to the topic of knights.



Visiting King’s College in Cambridge.

Stained glass with knights on it made a link I needed to continue my research.

Armour was made from steel – it protected from wounds and it was obviously applied on the body. It is a certain kind of garment. Moeover, the fact that iron (and steel as well then) is believed to have the meaning of protection against evil makes it even more relevant. An armour made from a material that protects from any harm. An armour that protects from air pollution. This is still a rugh idea of the direction but this is more focused direction of going, something that can generate ideas and that is what I was looking for at this stage of research. The chainmail on the stained glass looks like knitting, which makes it even more intriguing for me, because I could use those circular shapes from it or wire to experiment. I have used historical references in some of my previous projects, so this kind of direction is reoccurring in my works. It is probably caused by the fact that I had lessons of extended history and history of art over my whole high school as well as extended history of literature, which makes me interested in those kind of historical topics.

The fact that it was on glass reminded me of greenhouses that were previously in the buildings of the resale shop. The colours on the windows look like petals of Astroemeria flowers when it comes to colour. It makes a connection between both topics. I also find it interesting that some of the stained glass were not very recognizable. It is due to the age of these and the fact that the windows were undergoing many renovations and changes over the time. However, I find these colourful blocks of shapes intriguing – they look a bit like abstract paintings or, as I said previously, flowers. It's composition is inspiration for colour in samples - try using many different colours, a lot of them, the colour scheme will come later.

What also fits in to my research is the fact that both cities are very similar to each other – both have a long history, old university in the middle of the city, market square and lots of medieval architecture. The spirit of Cracow is very similar to Cambridge, so armour against air pollution would represent the historical part of the city as well. The spirit of the city that would raise the topic of air pollution. Though, I do not want to design anything that would look like armour from the very beginning, at the first sight. I want to keep it as a reference but not as an literal final idea.

Next step is to do more library research and find books about medieval armour and any information about it.

I am quite sure that this is the topic I could do more research about for Unit 7. Starting from armour as a way to show air pollution as a threat to environment and human beings. Base on the medieval spirit of my home city yet talking about an issue that is much broader than just pollution in Cracow. Protecting in form of a garment with the "magical" power of steel.

I still need to find more relevant textural ideas to make sure that I could use this topic as my project proposal. I also do not have any particular techniques yet.

The idea of focusing on medieval times is also relevant in terms of what I was thinking about the mass production vs craft - in medieval times everything was hand made. Cracow is a medieval city with a history of trade and craftmanship. This is a contextual link that would also connect the making process with the history of the city yet with a broader context of mass production. I think I shouuld look for some medieval techniques or ways of making to reflect that medieval spirit, although not to make something that wold look historical. I will also need to start working in my sketchbook but now I want to focus on gathering right images and finding a way of going with this topic.



Mind map on steel – material research.

Steel is an alloy of iron and carbon. The smaller the amount of carbon the better. Apart from other links to steel that can be found on the mind map, the one that interested me the most and is really relevant to my research so far is the information that Iron has a magical meaning (at least in medieval Poland) to protect from evil and witches. Iron being a part of steel makes steel a material with special “powers” too. This makes it for me even more fascinating – a “Witch” by Jean Tinguely made from steel. A complete juxtaposition of it. This element of protection from evil also makes me think of pollution – a protection from pollution, a protection from what has a bad impact on our health and bodies. The only question now is how can I connect it with the body in a design?

I need to find a way of visualizing the idea of steel being a protection against air pollution. It is somehow ironic that in the middle ages it was used as an amulet (people in medieval Poland used to carry a piece of steel with them in order to keep the devil away) and now it’s usage in steel mills generates pollution, which is harmfull to humans.

I also went to see the "Material World" at Selfridges - it was not helpfull in terms of very direct visual inspiration, but it made me realize that there are designers, such as Le Kilt that use local products to preserve communities and craft. This made me realize that this is also the direction I was thinking of going - the idea of soviet type of work, mass production and consumerism against traditional approach to craft. Craftmanship causes no pollution or soever. It is entierly ecological and is a great juxtaposition of machine made garments that cause pollution (like in Edward Burtynski "Manufactured Landscapes"). Also the element of craftmanship is something that occured earlier in my work too, so taking it further into this project would make it even more enjoyable.

How can I move from now?

Think about how does this magical aspect of protection can be aplied to the body. Think about new techniques of knitting that can be used and relevant for this project.

What went well?

The idea that steel has those elements of magic are really relevant. It guides me to the idea of protecting agains air pollution.



Organizing research page after research on Monday.

Intriguing information about the resale shop - the buildings where the resale shop was there were huge greenhouses. It seems really interesting for me, because it shows the transition of a landscape – from a natural one (greenhouse as a symbol of it) to artificial one (machinery as a symbol of that). I also found the information that in those greenhouses was harvested a very specific kind of flower – Astroemeria. My grandfather was the first person in Poland to sell it. The flower he was selling and harvesting was modified from natural type of Astroemeria. It was completely artificial, not nature existing, that is why it had to be kept in greenhauses (though I can not find any particular information about what type of Astroemeria it was nor how exactly it was modified – the only resource in this topic is my father who doesn’t remember these details now). Though, this flower is an example of hypernature. A man made transformed nature that never existed. Also, this makes a link with the “Witch” for me – the flower being modified and unnatural seems for me to be magical in a way that scientists were able to produce it. Moreover, in shamanism or witchcraft flowers or herbs were used to execute certain magical rituals.

The SS17 collection looks by Christopher Kane that are on my research page are a way of perceiving the design the way I think of it right now. The colorfull fluid lines remind me of cables and machinery details. They look industrial and create an interesting texture. These could also be reinterpreted into the wire I was using or some thick yarn. The flowers added are the element of nature, like the greenhouses and Astroemeria. Those designs link both topics togerther. It is also an inspiration for me for textures - I am sure I want my finished garment to be rich in them.

Sharing the research ideas with my friend from the course. I was told that the general way of going although commonly known is going into a more intriguing direction, which is good because I wanted to keep the topic known enough so that many people could relate to. I was also told to get more focused with the ideas, there are quite general yet with possibilities of finding more direct way of approach. It is true - as I was told at the tutorial it needs to be a creative restriction, so a topic to start further research from. I was thinking about writing the breif in form of tasks to complete, but now I think I will change it into a certain topic that would be a starting point for next part of research, as this would be more direct and easier for me to think of. I do not want to be unambitious but the task of social awareness seems to me already quite serious, so I do not want to get carried away too much from the core of the brief we got from our tutors  - to think about social awareness in a design.



CSM Green Week talk.

The main topic was about arctic and melting of it due to oil campagins, but what I find relevant to my research is that the Aurora Project was basically building a huge polar bear machine. The skelethon of it, visible on the short movie reminded me of the machinery from Steel Mill in Cracow and that from my grandfather?s resale shop because of the steel elements and the way humans were placed within them. It reminds me of a huge working machine/human connection. This images made a visual link to Jean Tinguely sculptures. His works are purely industrial and resemble machines like the aurora bear. He aimed to create sculptures that were moving, resembling machines but also people in a way, he was fascinated by the fact, that they can live on their own when turned on. He used a lot of steel elements that were former machines, parts of wires or scrap metal. I could try that too - perhaps find some old machinery or elements of it. I do not want to make robots but the scrap machinery reinds me somehow of workers that disappear into their working space. People that make them - the machines are always hidden and replaced bby machines very quickly, but it is always human that makes. Those random pieces of steel and other metals he was using reminded me of the images of Edward Burtynski or Nicholas Faure - it was basically waste that Jean Tinguely used and it was waste that both photographers were capturing. This alongside the Steel Mill inspired me to choose my maerial for research - Steel and to think of using wire or other steel industrual elements in my work. I have not done any experimentation yet, because firstly I have to gather good ideas, but this seems intriguing. Those materials would resemble indstrialization that caused the air pollution in my city.

I find it also really interesting that some of his sculptures were titled "Witch" or "Totem". This gives it a kind of magical element. It makes me think about whitchcraft or shamanism and how nature was used in these magical ways to create something new, to interfere with natural world, just as we now do with the machines. Both witchcraft and shamanism have this kind of rules of making magic, elements of a mysterious technology. Also, the machines to a person that has no clue about them look like magical elements. Just as they looked like to me when I was small and I looked at the resale shop - magical monsters and creatures - witches or totmes for a new way of living. It is also quite mysterious that machines can actually move and produce same work as humans do with their hands. Obviously it can be explained with some technological knowledge yet the power that stays in these moving machines remains invisible and therefore magical.

The talk was really helpful in terms of charity research. Greenpeace organises more happenings that include art and awareness. One of those mentioned was the one where greenpeacce activists put masks against air pollution on monumets in London. This links to my topic in terms of theme and also in broader context - I want to do a piece that would raise the awareness about air pollution. Show the impacts of it, but without being too descriptive. Intriguing thing is that air in London is less polluted than in cracow , so it is healthier here.

The material I decided to research about is Steel (because of the fact that the majority of machines are made from steel and that the steel mill was in my interest for this research for so long). Now I need to think about any possibilities of applying this onto the body or any other properties that steel has and that I could use.

Below a documentation picture of the happening about air pollution (not uploaded to research page as this has only contextual meaning):


Evaluation of this stage of the project:

How to move on from now?

Do material research and think about how shamanism or witchcraft can be used in relation to this project - isthere any way possible of moving into this direction? I also need to organize all the pictures and bibliography for this project.

What went well?

The idea of going into the direction of shamanism and wwitchcraft seems more intriguing. The form of interaction of human and nature that transformed into pollution of nature. Hopefully I will find a good topic for my proposal draft. After that I want to evaluate it using the questions of task 2.

What did not went well?

I should have started work in sketchbook earlier than now. I need to visualize all the ideas I have. At this point of research I want to try all of them in sketchbook by collaging and mark making and as the research goes do more of them, to show the development. I am not planning to do any samples before the Draft hand in, as I still need to consider apppropriate techniques of knitting, colour scheme and materials. It is really exciting and I hope to find a new technique I haven't tried before. I could combine it with machine knitting as a representation of machine-made garments and pollution.




Library visit.

The landscape of a city polluted by factories is not a unique element of Cracow. I want to keep the topic related to my home city, because it is a good example of a seriously polluted town. However, it is a global issue and I was looking for this references from around the world too. The piece that I will make has to be relevant to a broader audience, because it has to evoke discussions. I believe that this is the way to really change anything.

The book by Edward Burtynski “Manufactured Landscapes” was a direct connection to the documentary I was watching yesterday. It shows man made landscapes, unnatural constructions in a natural environment. I focused only on the pressed cubes of metal – elements that reminded me of my grandfather’s resale shop. A lot of industrial mess. This is an inspiring texture to experiment with, because it looks like steel knitting or even fringing because of the cables. Also it has a lot of colours in it so doesn't limit my colour scheme this quickly. It is impossible to tell here does this mess comes from or where exactly does it lye unless the caption. This problem of pollution and piling objects that we do not longer need is huge and common everywhere. In the movie the impossibly huge factories of shoes that are in China work just as bad for the environment as the steel mill in my home city. We are consuming not because we really need and this generates a huge income but a huge pollution too.

Similar images are in the book “Landscape A” by Nicholas Faure. He was one of the first photographers to portray the new way of seeing nature that was formed in late 20th century. The nature that is transformed by human being. That is new natural environment and that is an inevitable effect of industrialization and growing consumption over the last century. It is followed by pollution, especially air pollution in relation to industry.

Just as with “WasteLand” with photographs by David T.Hanson. Looking from a bigger distance on these objects and buildings makes me realize the scale of it and the huge amount of waste it generates.

“Human design has made nature more natural than natural: it is now hypernatural. It is a simulation of nature that never existed. It is better than the real thing; hypernatural nature is always just a little bit prettier, slicker and safer than the old kind. Let’s be honest: it is actually culture. The more we learn to control trees, animals, atom and climate, the more they lose their natural character and enter into the realms of culture.”

“Our natural environment is replaced by a world of design.”


van Mensvoort, K., Grievink, H.-J., Sterling, B., Kevin, K., Lunenfeld, P. and Mensvoort, van (2011) Next nature: Nature changes along with us. Spain: ACTAR COAC ASSN OF CATALAN ARC.

The second quotation sums up what the images I mentioned before and from the book “A New Order” by Lucas Foglia show. Cars instead of Oxes. We modify nature, create hypernature, but it is not always as neat as in the quotation above. It also means factories, pollution and chemicals that we breath in. I think we lost control over that, and the hypernature is something different – it is not only new species of flowers or gmo food but also the pollution and damage that is unstoppable.

I still think that the topic is too broad now and it needs to be more focused on a certain point. I am surprised that this time it is so hard to find a right topic for me, because normally it goes really smoothly and the research goes much quicker. This is frustrating at one point but on the other it makes me research further to find a good proposal topic and idea how to interpret it. I think sketchbook work will help to figure out a way of going but firstly I need to keep up with research and find a way to apply all of that to the body and write the project proposal.

The way to overcome the difficulty with this point of research is simply to do more research. Key ideas now:  The connection of human and nature, the hypernature created by machines and impossibility to control the way we change the landscape of our environment. The connection of air pollution and industry.

I do not know yet what exactly do I want to do yet I know that I want to grab viewer’s attention. I still need to find a right way of doing it – in knit textures are a great way of expressing and evoking emotions, so this would probably a good way.

Tomorrow there is a talk at CSM as a part of the Green Week campaign that I would like to see. It is about greenpeace and art actions they do. Hopefully this will give me more inspiration and idea about how to approach my subject. This would be also one of the charities to my research – as a part of accomplishment of task 1.

Continuation of work on Unit 7 Project Proposal:

It also provides an opportunity for you to explain your reasons for choosing a particular pathway and to outline your longer-term aspirations.

Exploring and experimenting with the relationships between shapes on the body and the textures of textiles particularly interest me, therefore I decided to choose Fashion Design with Knit. The unexpected and experimental design process gives me an opportunity to effectively move forward in my creative development. To become a designer ready to face the challenges of the industry with competence and fresh creative energy. To be educated to analyse and criticise various factors forming the professional realm. All alongside obtaining knowledge about technical aspects of production and making processes.




Green Week at Central Saint Martins.

Documentary “Manufactured Landscapes” by Edward Burtynski – the movie was screened during the CSM Green Week Event on this day. However, due to helth problems I couldn’t participate in the screening. Instead I watched it online as well as a talk by Edward Burtynski about the project, principles of it and the idea behind it.

What it makes me think of is the connection of nature and humans. The new landscapes become natural, because new generations are raised with these as a normal order of things. They stop being shocking. His photography by exposing the scale and amount of pollution caused by factories shows that all of people are responsible for it. That we breath with the same polluted air that was contaminated by factories in China. There is no way to escape that and it become a sort of processed nature. The stage from before any pollution was ever made will never be back again.

That makes me think of the idea of technology which is a set of rules. This means that the problem is not with the technology as such but with how we use it and what for. The scale of these factories is just as the scale of work that was a goal in the Soviet idealism – the more the better. But is it really like this? Do we really need that much new objects? There is already so much stuff on Earth that the idea of mass production equals the idea of mass pollution, which leads nowhere.

In terms of my project, how can I raise this questions? It is impossible to stop mass production, but is there any way possible to limit it? And how fashion can do that?

Mass production in clothes is all about making same patterns, same t-shirts and trousers. Of course, there are the designer’s collections that are more unique, but they generate waste on a huge scale too, alongside big incomes.

That is a subject to still think of in terms of this project.

Tomorrow I want to go to the library and look closer at the pictures of Edward Burtynski.

Below are quotations from the movie and the talk that I find usefull, not all of them are on the research page, because I want to keep the research page as clear as possible and do not insert that much text as previously.

We are this transient thing that is happening and the nature that you see out there […] the untouched forests that I was able to see. [They] bring in the sense of that geological time – that this has been going on for a long time and we are experiencing it in a different way”

“Collective appetite of our lifestyles and what we are doing for our landscape”

So the consumerist nature of fashion and mass production, the need to have new clothes, better clothes, the ones that show that we are modern and up-to-date with newest trends and that we have the money to spend on these clothes.

“I think the environmental movement has failed – it’s used the stick too much, it’s used the apocalyptic tone too much it hasn’t solved the positive aspects of being environmentally concerned”

I think it’s true. It is not about saying that we gonna have the end of the world if we don’t do something, it is actually about doing and I think at this point fast-peace of fashion has a connection with environmental practices. It has the power to speak loudly and move actions alongside art. It can reach a big audience in a quick and visually intriguing way.

Below are questions from preparation of project draft:

-       What I know now?

I know how fashion design process looks like (research-drawing,collaging,mark making-experimentation, sample development, technique development – draping – development from draping – stage of making is always in between and final outcome may vary from the drawing) and how this can be approached to add changes and push experimentation into a different direction. Including sample making is the most successful for me, because it involves a lot of drawing and texture development. This changes the direction of working on the body.



Fashion process is the combination of all other processes I have experienced during other pathways. It involves architecture (garment construction), fine art (mark making responses and collaging, 3D experimentation), performance (creating a mood, interacting with audience – customers). All in a balance that allows me to use my previous experience to create something new.



I learned how to edit my work effectively and how that pushes my work forward quickly – thoughtful decision making is crucial for successful outcome. Therefore the process is as important as the final piece.

Evaluating and going out with the work is important, gathering feedback from different people, but remembering to have own critical voice on that (asking too many people is not good either when you can’t thoughtfully respond to the feedback).

Experimentation with colour schemes within my projects taught me that colour in fashion design is something that enriches my work and allows me to express my ideas. It is vital in my own approach to textile making and silhouette development to find right colours. I become interested in how proportions of colours can change a design and how a silhouette well-balanced in colours looks like.

Experimenting with techniques of knitting and stitching developed my making skills. Alongside mark making development and on the body draping it was a proof for me that knitwear is right for me.


-       What does it mean to me?

It means I found a pathway right for me within many disciplines in art and design. I established my own working ethic which is focused on texture experimentation and colour choices alongside techniques development. This pushed me towards fashion design with knit.

The editing and evaluating skills as well as reflection on my own work means to me that I can creatively solve problems and make adjustments that would improve my work.

Despite not having any proper art education before (no a-levels or art programme) I achieved more than I would ever expect during this year and I found area of interest that shows me how much more there is to learn.


Evaluation of the short-time schedule of work:

It was not a very dense plan but it worked well. By not putting too much into one day I had the time to really focus on researching and find sources I needed without rush. It is a good lesson before I will plan the schedule for Unit 7, as this taught me that putting too much into one day is impossible to acomplish. I have to remain realistic with it though still do as much as possible and keep the standard of my work as high as I possibly can.



Preparing work for assesment tomorrow.

The feedback with my notes is uploaded in Lace project at the very beginning of it.

I did everything I was supposed to - I fixed workflow and reflection, I have additional sketchbook with illustration and few bigger a2 illustration from workshops I took part in.

Today I re-organized the clarity of research for both Culture Swap and Lace once again, I know I did it already but I wasn't certain if it looked as I wanted it to.

I had to change the schedule of time management for next few days, as I decided that preparing workflow for assesment is more important at the moment and that I will continue with research on Monday.

Below is uploaded another part of writing for Section 1 of Project Brief Proposal with reflection in bullet points about achievements.









-       Music and moving image is very often a part of my research

-       Elements of nature are either the topic of a project or are interwoven or are a starting point

-       Creative approach to projects or understanding of associations within a project

-       Presentation of work and displaying it (styling, photo shooting, exhibiting)

-       How to move on with a project when it seems to be stucked in one place ( unsing elements of textile design development in fashion process)

-       Visualizing ideas by drawing

-       Drawing and markmaking

-       Hand making

-       How to work in sketchbook to sucesfully develop ideas

-       Ability to evaluate own work and the value of it

-       Fact paced work


-       Achievements within process – it becomes as important as the final piece, approach to a certain topic (even if the topic seems well known – like hippies) is crucial.

-       Interwoving elements that are personal

-       Bigger creativity

-       Improvement in visualization skills and illustration

-       Combination in mark making and experimentation and colour practice resulted in a better sensitivity for textures

-       Work becomes self explanatory but it is also easier for me to work

-       I move forward sucessfully


-       Understanding of the process (what am I actually doing) + personal references = bigger creativity

-       I left the connection with very academic type of drawing far behind, however using lessons that I was taught during that period of time

-       Process is unexpected and highly experimental yet with understanding and fast work it can be guided by me to a certain extent, which all alone is fascinating




Organizing research I gathered from yesterday.

Crediting pictures and sources in a harvard format of bibliography (see the bibliography document in Documents folder. It is much more time consuming to write a proper bibliography even if using a website (I was using because not all information are accurate. This took me much longer than I thought it would, so I decided to change my plans for today and start writing the first part of the draft - I focused on evaluating my own work over the Foundation. It is really impressive how fast and much and I make, I haven't looked at this like that ever before. Having done all this work and looking back at it now I feel that I am ready for the BA - or at least hope so.

Evaluating the work during Foundation according to the guidelines from the template:










-       Various fashion design approaches and freedom within them; abstract thinking applied to fashion design based on associations within a chosen area

-       I understood how to creatively use my previous experiences within various art disciplines to enrich my research and technical abilities

-       Importance of right fabric and material choices alongside experimentation with unconventional elements

-       Technical skills (crocheting, hand dyeing, macramé, yarn making, hand knitting)

-       Illustration and mark making skills development

-       Colour sensitivity and the role of colour (developed by knowledge ganed in painting lessons before FAD)

-       Researching skills – various sources and methods of research (interviews, own imaginery interwoven into research and mood-building, connection to music)

-       Thinking through collaging and drawing enriching visual research

-       Editing skills

-   I enriched my understanding of broader fashion context, why are are certain design decision being made in the industry and how does that reflect the way fashion design looks

-   Conscious design decision making and context of these decisions (what the consequences of a certain design decision will be)

-   Thoughtful steps in design development

-   Understanding of how personal approach can change the connection to the project


-       Stepping outside the environment of literal approach to art I was aesthetically raised in.

-       Exploration of own artistic associations from different disciplines

-       Confidence with experimentation and applying it to fashion design

-       Realizing the strengths in technical abilities and approaches in: mark making, colour usage, craftsmanship based techniques

-   Progress in understanding of fashion design process and the importance of applying textures, shapes and colours; altogether underpinned by personal approach


Progress in experimentation, visual language based on combination of art disciplines I have experienced, confidence within design

Technical skills development, colour exploration, craftsmanship within textile and silhouette development

Having no previous experience with fashion design process I learned how to understand it and develop my ideas with it


The table shows in general the first evaluation of progress. I consider this too general when I look at it now, but hopefully I will review it with someone from Student Support Services before handing in the drawft.

Most important action plan now is to prepare everything for assesment on Monday and then continue research and tasks.



Looking for visual references and context of the research.

I recieved images from my father that depict the resale shop of my grandfather. All of these images remind me of my childhood. As a kid I was afraid to enter this shop because the machines inside seemed dangerous and unsettling. Weirdly I always enjoyed looking at them being repaired and listening to the sounds of it. My father told me that there were not only machines from both of the factories that contaminated Cracow but also parts of wires or other elements that were produced there but no longer needed. While this talk I recalled a band called Kraftwerk that gathers inspiration in machines and technology and even sometimes connects it all with environmental issues. My father showed me this band few years ago and the music is embodiment of the industrial mood of the resale shop that my grandfather had.

From that I moved onto looking at images from the actual factory - first from Steel Mill of Nowa Huta and then on Aluminium Mill that was very close to my house. What is intresting is that the band - Kraftwerk - actually played a concert in Nowa Huta factory, which links both subjects even closer to each other. In both the factory images and my grandfather's shop images what I find intriguin is that they depict a working space with many machines inside. All those lines created by pipes and steel elements there are very geometric yet have a certain fluidity. It seems to me intriguing how the steel mill kept working and polluting after so many years and the environment of it did not changed at all.

What I also find interesting about this topic is the history of the place - both Steel Mill in Nowa Huta and Aluminium Mill were founded as "gifts" from Soviet Government to the people. It was a huge event back then and I remember my grandma telling me about it. The whole idea was a part of Soviet ideology of work and producing great amount of objects in a short amount of time that would exceed any "western" norms of production. That would then work as a proof that Soviet Union was great and strong (which was not necessarly true). Mass production to the biggest extent. This makes me think about how can I show that the ideology of producing huge amount of products causes damage to the environment? It is also quite connected to fashion - an industry that never stops. Every season a new collection is introduced, ready-to wear pieces that in next season are replaced by other new ones.

Intriguing thing that links to this topic of work is the working place - from archives on the official website of Steel Mill I gathered images of how it was and how it is. Inspiring structures and combinations of shapes reminding machines is what I could experiment with later on.

Going with  the ideology of work I recalled posters by Wiktor Gorka that were hanging on the walls of my history classroom back in high school (obviously as a historical reference and curiosity and not as a real propaganda). The color on these are very specific with a characteristic type of bold front to catch viewers attention. These colors remind me of the colors of images from Nowa Huta factory and my grandfather's working space. The quotations o them that value the massive work are very characteristic for soviet occupation. Make as much as possible, I think of using them in my sketchbook as a comment but rather in ironical way, when contrasted to the air pollution. Idea of polluting mass production is visualized by them.

Library visit.

In a book "Philosophy Of Technology" by Val Dusek I found intriguing ideology that the technology is not a machine but a set of rules. That definition of technology changes the view completely - normaly machines, factories and computers are associated with technology and development. This made me think about writing my project draft as a set of rules that would construct a technology. I still need to think about this topic but this seems intresting - especially that our tutors told us that the Unit 7 task can be in a form of a exercise we will have to develop.

Thinking about techniques I would like to use for this project.

Researching about the machinery and factories made me think of knitting machines. The garments are produced much quicker than normally with traditional methods of hand knitting. Also the pieces made using them look like they were not made by human, all rows can be very neat and clean, I have never used one and I have seen it only during tutorials, so this would be a great challenge for me and a new field for experimentation. I would need acess  to workshops, so I have to consider this in my action plan.

Looking at workflow pages of other students that were recommended to us on the presentation helped me to organize the idea for writing possible project topics next to images.

Evaluation of this stage of the process:

What went well?

I started to gather visual references to my project. It is quite early now before we have to hand in the draft, so it is an advantage for me at this point.

How can I move from now?

Keep researching the issue of mass production and pollution. How do people changed their environment with their technologies and machines? I would like to relate this topic to a broader audience andnot stay focused just on my home town, although I think it is a good start.



Introduction lecture - precise briefing; presentation.

Research Tasks to do in the library and writing tasks. These tasks recquired some more precise idea for researching than I had at the beginning of the day, so I decided to do mind maps first and carefully consider the topic. I do not want to hurry to much either, because with good time management I will be able to do everything I want to and consider the project decisions more carefully than when doing quick projects.

The mind maps are attatched below.

I decided to start with the surrounding theme. While brainstorming I realized that the topic of pollution is especially close to me,because the city I come from (Cracow) is one of the most polluted cities in the world and Europe. I lived there for 15 years of my life and I always remember announcements in the radio saying to stay at home due to air pollution. Soil, water and air are severly contaminated. This is mostly due to geographical conditions - the city is located in a valley and there is no wind at all, so the smog stays low and cover the city. During the Soviet period a huge steel and aluminium factory was established there, so this resulted in the air condition being even worser. Contamination from coal being burned to heat up households in this  area adds even more pollutions. The city is a very touristy place, so the amount of trash generated in the summer time is overwhelming. There is a problem with recycling because no recycling factories can be build in a region that is already so contaminated by factories. I find the connection of factories to the air contamination particularly interesting, because both of my grandfathers were working with machines that were working in factories. One of my grandfathers as a machine designer, the other one as a seller.

I found articles (in Polish though) that tell about recent emergency situations that were caused in the Steel Mill by machines (some specific instalations and stoves) that were not working properly. As a result a huge amount of toxic air pollutants was released to the air. That along the reading of "ELEMENTAL COMPOSITION AND ROUGH SOURCE APPORTIONMENT OF FINE PARTICULATE MATTER IN AIR IN CRACOW, POLAND" makes me realize how big the issue is. Obviously, when it comes to the process of production of Steel in this Steel Mill these are not only machines that are not working properly. However, I want to be focused just on that and use machines as a sybmol of industrial pollution.
All articles are credited in the bibliography page.

Tutorials with Pauline and Jeniffer.

The tutorial on project brief writing was very helpfull, because now it seems more reachable. The most important thing I have to remember about is to establish a creative restriction. We were discussing old projects with my friends during the tutorial and we realized that all of the projects were called restrictions - I need to find a clearer creative starting point for an even broader research. What I have now is still very blurry. I have no clue about air pollution or any other pollution, the ways to prevent it or what it causes.

I have a clue how to structure my project brief by answering questions that are marked on the draft by our tutors.

The ther tutorial on Workflow writing was usefull too especially when it comes to layouts on the page. I was told by my tutor to clarify my research and reflection pages. With help from the technitians I managed to rearrange all of them and hopefully now it will all look better.


Below is attatched a table with action plan for next few days.







Library research, internet research


[Task 1 realization]

CSM library, computer


Library research, internet research


[Task 1 realization]


CSM library, computer, camera


Library research/internet research


[Task 1 realization]


Preparation of work for assesment

Computer, camera



Task 1 realization


CSM library, computer






Beginning of the last project - introduction and initial briefing; presentation.

"[...] To reflect the current climate and discourses we will give you initial themes which tie in with charities and social awareness rather than a brands and consumption. Emphasis on being able to use design as a tool to create function or aesthetics, but also discussion, debate or attention."

from the Project Brief

I'm very glad to start the last project also because we are given a huge amount of independence - that is challenging but intriguing at the same time.

From now the topics we were given are: SURROUNDINGS, SELF, SECURITY.

To chosen topic we have to prepare: research, project proposal, action plan and biblography in harvard format.

The emphasis on this project is on charities and social awareness - design as a way of raising topics that require discussion.

Today we were told only to rethink the topics and choose one that will be the starting point for our research. I looked again through presentation we were given and checked the names of charities we were given there. I am not from England so I did not know anything about them, apart from few. The topics I am considering now is either SELF or SURROUNDINGS.

To make it relevant to my experience I was brainstorming about any links to charities that I ever had and how this would help me to choose the most suitable topic for me - one that would give me the most of personal associations. The way I was thaught to look at the world was connected to environmental issues - my family was running a shelter for homeless animals and animals taken from laboratories. Apart from that I was always involved in Eart - cleaning activities and events as a kid. These are only few associations that I come up with today, but I need to think about it deeper. However, this suggested me that the topic of SURROUNDINGS would be probably more suitable for me.

I also signed up for tutorials on workflow and briefs tomorrow, hopefully this will give me some more guidelines how to start it. The amount of information I got today was huge and slightly overwhelming.



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