Final Evaluation

Project Evaluation

Initiation

Starting part 3, the scope of research for the garment was huge, as I wanted to include a wide range of historical references, however after extensive research I found recurring patterns of corsets and structured skirts throughout periods, that I then modernised for my final piece. I also responded more intuitively after responsive drawing, collaging and experimenting with my own body, and found combining this with archival textile techniques created a more interesting outcome and developed my own design style. This was a turning point for me as I was able to progress with the complete garment that stayed true to my initial aim of working with detailed techniques in response to my part 2 Espero Atelier project, and move on from 2D research that was too focused on recreating historical garments.

Research

Research has been the backbone of my project, as I expanded my part 1 and 2 work from not just designers, but also articles, films, books and first hand research such as galleries and interviews. In doing so, I ensured I was staying on topic with presenting an oppressive garment with historical features, and receiving external feedback on what thoughts were provoked from my visual research and garment designs shaped the final outcomes effectiveness in communication. I also found that presenting a compilation of my research as criticism of oppression against women within society from my perspective supported my garments importance in meaning. When moving onto physical research, techniques inspired by artists such as Viviane Sassen I had researched helped me widen my techniques, such collaging my own body to make shapes and colour experimentation.

Methods

Throughout the project, I found physical methods the most useful, for example making samples and fabric manipulations based off my research on historical fashion, and designers such as Roisin Pierce, and Connor Ives. From this, I learned what fabrics and techniques worked well together, and remained focused on one of my main aims of my PPP- learning technical skill. I was able to respond more intuitively once the samples were made, and look at what myself and peers emotively responded to rather than getting caught up with copying the historical fashion. I also used responsive drawing from life as a method of capturing the essence and feeling of my project throughout its construction, which is something that remains as a technique throughout all my work. I do however, wish I had experimented with a wider variation of fabrics, and is something I plan on doing further on such as weaving, or metal moulding.

Integrations (of methods and research)

I found rotating between research as my initial response, collaging, drawing and physical research) and reflection the most effective way of progression. I found linking my research with development created the most success when applying my work to my aims and for progression of ideas. I intended on creation being part of this rotation, however I didn’t find this as natural and responsive as drawing until nearer the end of my project, which is something I will work on for future projects. Around the middle of my project in early April, I didn’t feel as though my development was progressing as much as I wanted it to, so I went to the V&A museum to look at some of their displays of period clothing. Seeing the detailing and techniques used in real life garments from eras such as the new regency era, gave me a new perspective on my work and I was able to work through the block by taking aspects of the details I saw, and merging them with more emotive free drawing, which made for a more fluid development.

Planning

Planning was the key to progressing with my work, as I have never worked to a timescale as large as this on one project, I started off by making a rough overall plan of my weeks until the end of the project. However, as this was early on I found it was more realistic and helpful to set myself daily and weekly goals, in response to self, peer and tutor feedback. Once I started doing so I felt much more on top of my project and saw far more effective progress. Despite this, I did find myself running behind my schedule for making the garment, and so for the last three weeks I set myself an intensive plan, of which ensured all aspects of my work were documented and made in time for reflection.

Reflection

I tried to use reflection in every aspect of my work, looking back at deep personal analysis of my research, to apply techniques and aspects of historical accuracy to my own work effectively. I also used reflection as a tool of refining my work, and ensuring the project wasn’t getting convoluted or drifting from my overall project aim. Also, in colour coding my reflections, it acted as a diary of important features and to do lists to remain on top of my work; this technique is something I will bring into future work, as not only did it help me develop my own way of working and style, but heavily improved my time management beyond my plans.

Communication

The way in which I presented my work was very significant to my project; I used styling and my photography of the piece as its own outcome and made mood boards for each communication aspect, from the makeup and posing to the styling. I wanted to play around with modernised styling, and how the garment could be seen and fit into the world as well as photographing it in its full form as a symbol of female oppression- I was very happy with this outcome as I really challenged myself with the photography. I think the rawness of the images aids the overall concept. I did initially want to make an immersive garment or headpiece, which I started designing however due to time pressure I didn’t make it, therefore I needed the photos to resonate with the viewer and portray an emotion so there was till the intimate aspect. Presenting the poem I wrote alongside the garment was also effective as It was a supporting tool to connect with the viewer, and made them think further about the place of the garment in today’s society and the past.

Future work

Overall, throughout this project I have developed skills in personal method to my practice, which is an invaluable asset gained from this project that I can carry onto all of my future work. Physically, I learned an abundance of sewing skills, specifically in relation to historical fashion, and I plan on utilising these as I plan on doing a short course on history alongside my fashion course, as I feel it inspires my own personal style. Despite my sketchbook being a key tool for the development of my ideas, I would like to further expand this in future work, and take more time on my experimentation techniques. For example, I wish I had applied the tests using my own body more to my final outcome, as I think the mould of my torso, or refining the wet sheet cast to my body would have created more depth to the final piece, despite the sheer top portraying the same sense of rawness and exposure. This is something I plan on looking into on degree, as well as going beyond with experimental techniques and materials, and I am excited to see where this will take me as I combine this with the technical knowledge and fabric skills I learned on this project.

PPP

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