On the High Street

 An opportunity to get up close and personal to some of the high-end fashion brands in a high-end department store was not to be missed.  It's a long time since I have caressed the luxurious fabrics of Yves Saint Laurent or Gucci and since I've outgrown their dolly thin sizes, I've not even felt qualified to look at these designs.   

Dog-tooth pattern seemed to be the theme in many of the fashion houses, along with shimmering sequins. There were bold structural folds and frills off the shoulder and on, and a rainbow of pastel shades normally to be found in a packet of Refresher sweets at this time of year.

In the centre of the upper floor, was the floral, folk inspired collection of Zimmerman. A patchwork of contrasting, yet complimentary paisley and lace, held together with gold crossed threads and buttons. These maxi and midi feminine, floaty dresses would not have looked out of place in 70's Britain and I would certainly wear any of this collection. There seems to me, to be an Eastern European influence. 

Multi -tiered and super floral fabric make this the perfect dress for a royal garden party. The department store assistant told me that this is exactly what many of the customers purchase these garments for.  This range of clothing is made in China from a combination of silk, cotton, nylon and polyesters.

The intricate detail of the lace sleeves and bodice of this fun short dress grabbed my attention.  I think this might be because of the colour.  For a while now, I have been trying to capture the white foam swirling patterns that are created in the pool at the foot of the waterfall weir on the river near where I live, for my sense of place project.  I'm not sure that I would wear this one. It's not really me, but I admire it.

Tiers and pleated frill detail in the edging. 

Long Victorian gown meets patchwork prairie frills, meets 70's floral hippie. 

Althea McNish - Colour is Mine exhibition

 12th November 2022

As part of my course, on a grey November Saturday, I enjoyed a trip to The Whitworth Gallery in Manchester to visit the exhibition of the colourful patterns and textile work of Althea McNish.

This is an image of the infamous wheat field pattern. The bold use of colour conveys most vividly the golden glow of a sunset with the wheat silhouetted in black outline against it. There is structure and movement in the wheat line drawing, with attention to the details of the wheat ears and spikes of the seed heads.

This image appealed to me because of my own experiences of growing up on a farm on the edge of the Moss at Croston where I enjoyed riding my bike along the lanes between the wheat fields. This image reminded me of my attachment to nature and brought back childhood memories. I remember looking across the flat landscape of West Lancashire that extends far out to Southport and feeling the warmth of a red/orange sunset which was always visible from where I lived.  

To me, this image radiates vitality, warmth and a joy for life.

September weekend

 September weekend

An introduction to Creative Research

I brought in my bridesmaid's muff and headdress, which for the whole week prior to the weekend, I had cried about every time I looked at the paragraph.  This was little me. This little me inside that wants to be heard and seen, but who I have side-lined.

Being at college with others, however, I reined in my emotional woe, and I felt proud of my items which although were synthetic in their fabric, they held special meaning to me.  

Doubt is always around the corner, however, as I notice that maybe the project should be about something more antiquated and historically more significant.

I stick with the muff and headdress.  Let's see what I can make of it.

Summer project 2022

 Summer project 2022

A sense of place

As the brief for this project was being read aloud, I was feeling confident and excited to hear it, because I already had a great deal of research on my favourite place near home. I had 23000 words for a book based upon the place.

When it came to producing work for a specific audience, however, my work ethic changed considerably. I no longer felt the free rein of my own imagination, but felt stagnated by the fear of expectation.  I began to think what I could produce that would be suitable and relevant to the textile course.  I asked deeper questions about what I wanted to convey in my work, rather than just feeling it and whilst this encouraged my understanding of what the place meant to me, still I felt constricted by conscious creativity as I doubted my own creative responses.  And so all that I did was stare at the water and its mesmerising light strobes, wondering how on earth can I capture this.