C&G Module 6 Chapter 5 completed

Chapter 5 - This way and That way

I am very lucky that I have visited Barcelona and have seen a lot of Gaudi's wonderful architecture. I haven't seen any of Franck Lloyd Wright's buildings in the USA, although I have seen his work before and my uncle, an architect was a huge fan of Wrights and designed in a similar albeit, smaller style

Images and drawings of Gaudi's work - Antoni Gaudi, born 1852, died 1926, Spain

I have chosen few examples of the extensive work of Gaudi from both the city and Guell Park on the edge of the city.

The bottom image is an internal shot of the Sagrada Familia cathedral, which is an astonishing way of looking at this iconic building and would be a great images to stitch or quilt, but not for this exercise. 

From the selection above, I chose the five to draw that might be inspirations for developing with stitch and different techniques.

The left hand image to be developed numbered 1

The shape, which I think is a chimney, defines the quirkiness of this organic building. Saudi clearly does not like straight lines and apart from the windows, all is curvy. The building is the Casa Battlo in Barcelona. It is a bit Disneyesque and does make we wonder if as well as using Neuschwanstein Castles for the Disney Castle inspiration, Walt Disney did not also get some of his influences from the flowing lines of Gaudi's work. This shape is likely to be used as a free standing sample of his work, stiffened to maintain its shape. 

Image to be developed - bottom triangular shapes - number 2 cropped away!

These shapes are almost like the scales of an Armadillo and given the influence that McQueen has had on my thinking, I see these regular, repetitive elements from the roof tiles used widely in Gaudi's work, reflecting both his and McQueen's love of nature. Layers of these tiles might be used to create a small reptile-like sample, perhaps a bag. 

Images to be developed - numbered 3&4

The left-hand image is interesting, taken from the eccentric flowing window shapes of the Casa Battlo. They are quite beautiful and the floral elements contained within the glass, remind me of Charle Rennie McIntosh both he and Gaudi using the arts around their times, Arts and Crafts and Art Deco/Noveau - possible influences on their work. 

The right hand image is of little protuberances held within a ceramic mosaic which makes me think of the seaside, shells and limpets, but the delicacy of this work might inspire felting with colour splashes and the protuberances made by encasing marbles or floral glass beads to create the fabric distortion.

Right hand image to be developed - numbered 5

The right hand images from the Casa Mila are almost reflective of Asian or North African monuments and may have had a influence on Gaudi. The right hand of the two in the right hand photograph has geometric hollows and creates lovely shadows which would change with the sun's direction. Almost religious in nature, the image in the bottom right drawing will be made with one of the supportive mouldable fabrics. I think that the roundness of Gaudi's piece asks for soft shapes in fabric. 

Frank Lloyd Wright - Born 1867, died 19659, USA

Images of Wright's work

Guggenheim Museum, NY

Guggenheim Museum, NY

Falling Water, Stewart Township, Pennsylvania

Florida Southern College

C-T house, Houston, Texas

Kraus House, Kirkwood, Missouri

Wright describes himself as someone who designs structures in harmony with humanity and its environment, a philosophy he called 'organic structure'. He designed more than 1000 structures, 532 of which were built. 

I find Wright's building apart from the Guggenheim too angular too angular to be harmonic with nature, much preferring the work of Gaudi. Living later than Gaudi into the 20th century, Wright must have been more open to influence of the Art Deco movement and he has incorporated many windows in that style into his buildings. 

From these images, I have chosen to develop five into fabric and stitch.

The right hand image is more organic than the majority of Wright's work and numbered 1 will be my first sample as a vessel

Both of these images will be worked in light and dark, probably using Sinamy

The Kraus House is interesting and whilst it is not to my liking, I recognise the skill of making it 'different'. The angularity of the windows will be used to make a sample based on my small sketch. As yet, I have not yet determined what it will be made from, but probably 2D

The final sample of Wright's work will be 3D using the top element of the Art Deco window design to make 'glass' elements from stiffened reflective fabrics, joined together to create a free standing piece. 

I look forward to making the samples for this chapter. Whilst I do not find Wright's architecture nearly as pleasing, I can appreciate how he broke boundaries in design at his time. He in fact refused a sabbatical to Paris and Rome as he said that they lacked creativity. 

C&G Module 6 Chapter 4 designer 3

Designer 3 

Lindsay Taylor

Lindsay Taylor is a textile maker and even as a child designed her own doll’s clothes. She took courses in pattern-cutting and embroidery and eventually set up her own business designing wedding dresses. 

She continued throughout this period to develop her embroidery skills attending classes and began eventually to experiment with three dimensional art.

Lindsay was elected as a member of the Society of Designer Craftsmen and is now a highly respected designer-maker whose work is exhibited in prestigious galleries throughout the UK. Her work continues to evolve and she draws inspiration from the natural environment where she lives on the Isle of Wight. 

From looking at Taylor’s work, she sometimes uses fabric and embroiders op top rather than always using water solubles as a basis for her work. She does say that she uses water-soluble fleece for some of her work. Taylor also enjoys using a soldering iron to distress her work where needed.

She has exhibition and entered competitive work for around the last six years that I can find from her biography on her website. I could not find any reference to her age from anything in her book or web information. 

Widowed early in life with a young family, she has made her way in the textile designer world and her book launch in 2013 ‘Embroidered Art’ ISBN 978-1-84448-778-3 is very descriptive of her work both in photography and textual description

Exhibitions

Solo

Nov 2014        Endangered          The Knitting & Stitching Show, Harrogate

Oct 2014       Endangered          The Knitting & Stitching Show, Alexandra Palace

May 2014       Solo Showcase     Aspex, Gunwalf, Portsmouth

Apr  2012       Dutch Masters       Wallace Collection, London

Mar 2012       An Embroidered Garden  Haanderbejdsbladet, Denmark 

Nov 2010       My Secret Garden  The Knitting & Stitch Show, Harrogate 

Oct 2010       My Secret Garden  The Knitting & Stitch Show, Alexandra Palace, London Oct 2009       Embroidered Greenhouse  The Knitting & Stitch Show, Alexandra Palace

May 2008       Bloom                      Dimbola Lodge, Isle of Wight

Open

Feb 2010        Climate Change        Rhyl Gallery,  Rhyl, Denbighshire, Wales        

Group

May 2014       Coded/Decoded, PRISM    Mall Galleries, Mall, London

Apr 2014       Pour L’Amour Du Fil           Nantes, France 

Mar 2014        The Art Of Craft                 The Gate House Gallery, Harlow, London       

Mar 2014       Inorganic                            Brighton, West Sussex

Mar 2014       Art & Archaeology              QuayCrafts, Red House Museum, Christchurch

Feb 2013        QuayCrafts                        Farnham Museum, Farnham

Aug 2012        Gold, Bronze, Silver           Shire Hall Gallery, Staffordshire

Jan 2012       I Do                                    Heart Gallery, West Yorkshire 

Jan 2012       Designer Crafts At The Mall   Society Of Designer Craftsmen, Mall Galleries

July-Sep 2011 Another Time Another Place  Quay Arts Centre,Isle of Wight

Apr 2011       Royal Wedding                    Smythson, Bond Street, London

Apr 2011       Embroidery & Textile Exhibition  Ramster House, Surrey

Oct 2010       The Place Between             Pelham House Gallery,Isle Of Wight

Oct 2010       Janice Blackburn “Small Show HUGE TALENT” Kiddell Gallery, Sotheby’s’ 

Jan 2010       Designer Crafts At The Mall, The Society Of Designer Craftsmen, Mall Galleries

Jan 2010       Janice Blackburn “Old Friends New Directions” Sotheby’s, Bond Street

Nov 2009       A Feast For The Eyes          University of Bradford, Gallery II

Nov 2009        A Fairy-Tale Christmas        Craft shop, Royal exchange, Manchester

Sept 2009       Tea Potty                             SDC Gallery, 24 Rivington Street, London

July 2009       Time And Place                  Ventnor Botanical Gardens, Ventnor, I.O.W

May 2009       Craft Shop                          Royal Exchange Theatre, Manchester

May 2009       Art Space                           Barn Gallery, Henley on Thames, Oxon

April 2009       Embroidery & Textile Art Exhibition  Ramster House, Surrey

Dec 2008        Late                                     The London Museum, London 

Oct 2008       I Do                                      Bonhoga Gallery, Weisdale, Shetland

Sept 2008       Landscapes                        Bury St Edmunds Art gallery, BSE

July 2008       In And Out Of The Garden  Saltbox Gallery, Helmsley, York

Jun 2008       Creative Focus                    University of Portsmouth

Jun 2008       I Do                                      Heart Gallery, West Yorkshire

Sept 2007       Glorious Colour                   The Art House, Wimborne, Hampshire

Dec 2007       Coastal Creatives                 Russell Coates Art Gallery,Bournemouth

Five pieces of Lindsay Taylor's work

Free embroidered flowers to make a hat

A free embroidered and fabric chair covering

Free embroidered 'cabbage' shoe

Free embroidered cup and saucer

Terrarium contained free embroidered decaying shoe 

Free embroidered poppy

In the embroidery world, Taylor is probably not breaking huge boundaries in her work although the chair - there was also a lampshade - is moving away from the usual. Her terrarium contained shoes, of which there are more examples turn what it usual free embroidery work into something more unusual. 

Her materials are thread fabric and in the encased shoes, she is adding another dimension. She also encloses other elements into these glass cases to enhance her work. 

The innovation is the addition of unexpected and unusual elements such as glass but also she makes more unusual pieces, particularly chair covers and lampshade. 

Some of her pieces are quite representative, but as she runs her own business on a small island, it is likely that she keeps her more unusual, allegorical work, such as the glass encased shoes for exhibitions to show what is possible. There is, at a stretch some symbolism in her work. The decaying shoes may represent some women's need for shoes which seem to be hugely expensive and 'must have' items, but many are unwearable so sit in a wardrobe 'decaying'

I took the poppy as the sample to create in her style and free embroidered the petals and leaf. The centre of the flower was overstitched in purple with free embroidery. Then the stem was made from zigzagged sari silk and the centre of the flower from velvet, folded in on itself and stitched by hand to hold it. 

The back of the flower which becomes the seed pod when the flower dies was made from free embroidery as the petals and leaf, on water soluble fabric and then lots of stamens were made from thick cotton thread and the little end bits of the stamens, sorry no botanical name, were made by tying a knot at each end.

The unconstructed flower

The petals were joined with free embroidered stitch in the centre, then the stamens were placed in the centre with the velvet piece and stitched in. 

The stem was fed through the funnel shaped 'pod' and attached to the back of the flower with hand stitching and the leaf hand stitched to the stem. 

Sample in the style of Lindsay Taylor's work

This sample completes Chapter Four - most enjoyable 

C&G Module 6 Chapter 4 b completed

Designer 2 - Alexander McQueen

McQueen was born in Lewisham on 17th March 1969 and died in Mayfair on February 11th 2010 aged 40. He committed suicide after an amazing life of creativity and cutting edge design. His mother had recently died and he was very saddened at her loss.

He was chief designer at Givenchy from 1996 to 2001 and founded his own fashion label. He was British Designer of the year in 1996, 1997, 2001 and 2003 and international designer of the year in 2003. Despite his success, he was a troubled man with drug misuse and sexual diversity issues.

McQueen served as an apprentice in Savile Row learning the art of pattern cutting and tailoring both with top tailoring companies and then to creating theatrical costumes with Angels and Bermans. It is said that the skills that he learnt in tailoring enabled him to create and then deconstruct and reconstruct fashion and accessories in a new and exciting way.

I chose Alexander (Lee) McQueen as one of my designer influences because he was so original. Like Vivienne Westwood but much more, in my opinion, talented and creative. He push the boundaries of what can be used to create fabric and clothing, albeit not particularly useful for daily wear for ordinary people, but exciting and innovative. I have visited the 2015 'Savage Beauty' exhibition at the V&A three times and intend to go at least twice more before the show ends on August 8th. I will be very sad when it finishes.

His work makes me gasp at it's 'difference' and outside the box thinking. I hope that some rubs off when I go to the exhibition! My first sight of his 'box of curiosities' made me very emotional and when I took a friend as a guest, I made her close her eyes and let me lead her into the room and open her eyes again to experience the room as I had, utter amazement. Unfortunately, I lent my book on McQueen to the same friend and she has gone on holiday, so I have had to use the internet and some magazines for my photos of his work.

McQueen breaks boundaries at all levels! Design, materials and innovative ideas. He was a tailor but must have used free machining in his work.

Alexander (Lee) McQueen 1969-2010

McQueen used conventional fabrics, fur, shells, feathers, metals, bone, wood and so many more elements in his work. He was at the cutting edge of using digital imagery to create his fabrics, most recently in his 'Plato's Atlantis' show. 

It is from this show, that I have chosen my sample to make. For the 'Plato's Atlantis' catwalk collection, McQueen designed his Armadillo boots. Impossible to walk in, Naomi Campbell apparently fell when walking in them; photos of the show, shows the models wearing them on the catwalk.

Plato's Atlantis catwalk show

Details of the Armadillo boots 

Other images of McQueen's work

Feather dress

Goose feathers painted gold and structured to a jacket

Pheasant feather structured into a dress

McQueen's work is many things to many people; representational, symbolic and allegorical. His Widows of Culloden show represents the Highland clearances and reflects on his Scottish background. He was interested in uniforms and introduced braids and structure of military elements into his work. He used nature in his creations, feathers and shells used to construct clothing. Religion also influenced him as he used iconography in his designs. 

McQueen was interested in ornithology and many of his designs include nests, birds and feathers. 

His use of colour varies according to the themes he is creating. Wonderful tartans were designed, in fact he made the 'McQueen' tartan for the Culloden show. He rethinks ethnicity, taking national dress like kimonos and 'westernising' them whilst keeping the feel of the original. 

The line texture and forms vary throughout his amazing range of work but his tailoring always shows through as the structures are always immaculate and there is, although they are strange and avant garde, no feeling of dis-structure as with punk and Westwood design whose backgrounds McQueen has come from and with. 

The message that McQueen's work gives to me, perhaps not others, is that everything is possible; only lack of imagination can stop you; break boundaries; creativity is endless. He achieved this by imagining a huge range of creative themes, that make you gasp at the variety and innovation.

His use of stitch incorporates classical tailoring, embroidery on dresses and stitched structures that are so complex, it is difficult to understand their structure - and you can't touch them or photograph/sketch them.

I have become fairly obsessed by McQueen's work and from such a huge range of possibilities had a problem working out what I could possibly do to show a sample of his work. I don't have an industrial machine but nevertheless, I thought that I could make an 'Armadillo' boot from fabric. 

I haven't seen a boot made from feathers, so I thought that I would try and made something that represented his boots in fabric feathers. I drew the outline of the shape of a boot and cut it out in mouldable felt as a base for the feathers.

Using my iPad software, I sketched a pheasant breast feather 

My sketch

I then transferred the drawing to my laptop and in photo software, made a contact sheet of feathers and printed that on paper. 

Sketch, source image and printed contact sheet

More contact sheets were printed and cut and stuck to get a more dense page of feathers.

This sheet was then printed on to canvas fabric.

Canvas feathers

The rows of feathers were cut and the lower edge of the feathers cut out so that I had rows to stitch and overlap on the felt base. There was too much white exposed, so I painted over the edges of each feather, there were hundreds, to eliminate the white. 

Painting the feathers and bases or rows - this took a while.

The feathers stitched in overlapping rows to the felt

Now I understood why they were called 'Armadillo' although I have no idea how they were originally constructed! I used clips to hold the edges in with fabric glue.

The front edge of the shoe seam was machine stitched and I used what I have seen cobblers doing, I used two hand needles and threads to stitch down the back seam with a button thread. As I had used mouldable felt, I dampened the piece to be able to turn it once the seams were made. 

In the construction, I ran out of canvas and I needed to print more feathers. Unfortunately the print was slightly different in colour and so on one side of the boot, there is a colour variation which disappointed me, but I focused and reminded myself that this is a sample and that I should carry on.

The sole and heel and the base of the shoe are all made from mouldable felt and stitched or glued, or both to hold the piece together. 

The completed boot. 

Then, as I was so annoyed about the colour variation and because I felt that this was not particularly stitch oriented, I made another boot, this time printing using a tan coloured paper, onto which I printed all the feathers from the original paper copy onto printable silk and then stitched the rows of feathers with an outline of an automatic design in gold thread. A 'zip' was stitched using an automatic satin stitch and another automatic design to denote the teeth of the zip, between the lines of satin stitch

The boot was constructed in a similar manner to the canvas sample, although this time, I could machine most of the work, the fabric being thinner and less stressful on my machine. The silk was less robust than the canvas, so I left the print backing attached on the inside of the fabric. To make the boot more stable in the upright position, it is weighted with tiny metal balls and stuffed with toy stuffing to give it shape that is achieved in the other sample by the weight of the canvas. 

The finished silk 'Armadillo' boot

I know that this was a completely mad undertaking, but I have really enjoyed making these boots. I would love to have had made a larger piece of clothing as a homage to McQueen, but realise that this is not the time to do that. Perhaps later.

I am still deciding who will be my third choice of designer. I am torn between two. Either Alysn Midgelow-Martin or Lindsey Taylor.