My creative body of work has been influenced by my traditional Fine Art training, with portraiture and the female form as a main focus. Significantly, focusing on innovative womenswear design, conscious of the materials we let touch our skin, thus representing the skin and body through conceptual contemporary textile fabrications, with hands on manipulation of fabric, parallel to use of organic tone and colours. This was achieved through natural dying techniques, using waste material from local florist stalls, as well as waste skins from fruit and vegetables, affixed with natural mordents.
I used traditional sustainable techniques, such as hand knit and weave with donated silk yarns, and recycled scraps to manufacture my fabric, with even the warp yarn locally sourced alpaca wool. I sourced scraps of leather from multiple leather merchants, as well as skins that were a bi product of the meat industry. As well as this, continuing with the bi-product concept, I re-purposed the waste petals from my fabric dying, and pressed them into paper, and encased them within the trench coat panels. Natural pleating using a traditional Shibori method creates texture and movement within the garments that will soften and change throughout time the more the wearer interacts with the garment, as will the placement of the petals within the trench coat, as they cascade down and become free and fluid to move, much like the fragility and aging qualities of skin.
I was conscious at each stage of manufacture, forming an interest into zero waste pattern cutting, modern regenerated fibres, and contemporary technological fabrics, to achieve mindful designs for modern forward thinking fashion that endeavour to highlight silhouette and shape around the body.