TEXTILES/FASHION

STARS ARE NOT FOR COUNTING ON

I DESIGNED A DOUBLE SIDED TANK TOP THAT ECHOED THE IMAGERY OF THE WRITTEN PROSE PEICE I WROTE FOR MY EXHIBITION. THE FISH AND STAR ARE CHILDISH 'FANTASTICAL' IMAGES THAT RE-IMAGINE THE DREAM-LIKE STATE THAT THE NARRATOR FINDS HERSELF IN. THE STAR ALSO CONNOTES THIS IDEA OF FATE AND REMINDED ME OF BABY MOBILES AND THIS SENSE OF INNOCENCE.

I USED APPLIQUE AND CUT OUTS USED ALONGSIDE MACHINE EMBROIDERY TO CREATED LAYERS TO A SIMPLE CUT TANK TOP.

I DESIGNED THIS TOP ALONGSIDE THE ABOVE 'STARS ARE NOT FOR COUNTING ON' TANK TOP. DESPITE THIER DIFFERING STYLES, THEY BOTH RELATE TO THE PROSE PEICE. IN THIS DESIGN, I WAS INSPIRED BY THE BEACH AND THE PATTERNS OF SHELLS, WHICH THE NARRATOR IN THE PEICE ALSO CONTEMPLATES. THE IMAGE OF THE SPRIAL IS VERY IMPORTANT TO ME IN ITS MEANING OF CONNECTEDNESS.

I USED FREEHAND MACHINE EMBROIDERY USING SOLUFLEECE THEN HAND-STITCHED THIS ONTO THE BANDEAU.

I DESIGNED THESE TOPS IN COLLABORATION WITH 'AG.SEWN' AS A PART OF MY 'LETTERS OF THE SKIN' EXHIBITION. I WANTED TO FOCUS ON CREATING UNQIUE SHAPES AGAINST THE RICH BLUE OF A.G RESEWN'S GARMENTS. I USED APPLIQUE TO FURTHER MY EXPERIMENTATION SURROUNDING THE BODY AND FROM THROUGH LINE AND CONTRASTING COLOUR.

I USED BEADING, APPLIQUE AND FREEHAND EMBRIODERY TO ADD DIMENSION. ABOVE (MIDDLE) PAYS HOMAGE TO MY FIRST DESIGNS WHERE THE DOMINATING PATTERN (TAKEN FROM CLASSICAL TURKISH ARCHITECTURE) CAN ALSO BE SEEN. THIS LINKED TO THE MAGAZINES THEMES OF IDENTITY AND HERITAGE AND ALSO MY PERSONAL GROWTH AS A DESIGNER.

LETTERS OF THE SKIN

UNIVERSITY FASHION SHOW (2)

FOR THESE DESIGNS I KNEW I WANTED TO EXPERIMENT WITH HAND DYES SO I USED TURMERIC TO DYE NATURAL MUSLIN A STRONG YELLOW. I THEN WANTED TO FIND COLOURS THAT COMPLIMENTED SUCH A STRIKING COLOUR, AND RESOLVED ON USING A WARM COLOUR PALETTE, TAKING INSPIRATION FROM THE WARMTH IN AUTUMNAL LANDSCAPES. I ALSO WANTED TO CREATED A SENSE OF MOVEMENT THROUGH FABRIC DRAPING, KNOTTING AND THE INTERPLAY OF COLOURS AND PATTERNS.

I EXPLORED HAND DYING MUSLIN FABRIC AND FREEHAND MACHINE EMBROIDERY TO CREATE DETAIL. SCARF WAS SCREENPRINTED AND BEADED FRINGE ADDED (TAKEN FROM A LEVEL FINALS)

RESPONSE TO THE STIMULUS 'METAMORPHISIS' FOR MY UNIVERSITIES RECYCLED FASHION SHOW.I KNEW I WANTED TO CREATE THE SKIRT FROM RECYCLED PLASTIC BAGS BECAUSE I LIKED THE RICH RED COLOUR IN SOME THAT I FOUND. I CHOSE A WIDE CIRCLE SHAPE FOR THE SKIRT TO REPLICATE THE SHAPE OF A BUTTERFLY WING WHICH I THEN TOOK AS MY WIDER THEME FOR THE PEICE. I WANTED TO USE A UNIQUE COLOUR COMPLIMENTATION SO I CHOSE PURPLE, INSPIRED BY THE DETAILED IMAGERY OF EYESPOTS FOUND ON WINGS. I LIKED THE WAY THE EYESPOTS LOOKED LIKE NAZAR (EVIL EYE).

I USED APPLIQUE AND FREEHAND MACHINE EMBROIDERY. SKIRT IS MADE FROM RECYCLED CARRIER BAGS, SUPPORTING THE IDEA OF TRANSFORMATION.

UNIVERSITY FASHION SHOW (1)

FINAL PIECES: FASHION& TEXTILES A LEVEL

I DID MY FINAL PROJECT FOR MY FASHION& TEXTILES A LEVEL ON THE TITLE 'IDENTITY' IN REGARDS TO MY INTERCULTURAL UPBRINGING. THE ABOVE DRESS SEES STAMPS AND DISTORTED VISA IMAGE TRANSFER AND STAMPS EXPLORING MIGRATION AND THE NOTION OF BORDER BOUND IDENTITY. I WAS INSPIRED BY TURKISH VISUAL ARTS WHICH I STUDIED IN TERMS OF SHAPE, FORM AND COLOUR. I EMBROIDERED "A PASSPORT IS NOT PROOF OF IDENTITY" TRANSLATED INTO RUSSIAN AS THE SENTENCE REOCCURS IN THE UK PASSPORT WHICH I THOUGHT WAS INTERESTING.

I COMBINED A WIDE VARIETY OF TECHNIQUES LIKE MACHINE EMBROIDERY, BEADING, LINO STAMPS AND IMAGE TRANSFER, MIRRORING THE COMPLEX PROCESSES OF MIGRATION AND THE CHAOTIC YET ORGANISED FUSION OF CULTURAL ELEMENTS THAT COMES AS A RESULT GLOBALISATION.

THIS DRESS FOCUSED MORE ON REPLICATING TRADITIONAL TURKISH GARMENTS. I LOOKED AT OTTOMAN GARMENTS AND TOOK ELEMENTS WHICH INTERESTED ME LIKE THE LAYERED SLEEVES AND THE SCARF AROUND THE HIPS WHICH WAS VERY POPULAR IN WOMENS STYLES. I EMBRIODERED CLASSICAL TURKISH MOTIFS ON THE DRESS AND SLEEVE HEMS IN GOLD, COMPLIMENTING THE RICH HAND-DYED RED MUSLIN. I USED BROWN AND GOLD AS COMPLIMENTARY COLOURS TO CONVERY THE OPULENCE AND BEAUTY IN THE ART AND DESIGN OF THE PERIOD. I CARRIED OVER THE RUSSIAN TEXT TO CREATE VISUAL COHESION BETWEEN THE GARMENTS.

ON THE SILK SCARF THAT IS WORN AROUND THE WAIST, I SCREENPRINTED MY HAND DRAWN STUDIES OF TURKISH CERAMICS, USING BEADING FOR THE FRINGE TO ELEVATE THE PEICE AND CREATE EYE CATCHING MOVEMENT.