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Degree Show 2006

Introduction

Textile designers are at the forefront of the creative industries. Their work impacts on fashion, product, lifestyle, architecture and even the space industry.

This year we are presenting 12 designers at the cutting edge of their field who have investigated new markets, new materials and new sustainable ways of life and death.


Natalie Hand - CrEATe : Can Interactivity and Creativity Benefit the Dining Experience?

natalie.gif

What is your vision of textile futures?

Interaction, specifically between people and material objects.

What is your project about?

The Great Lovers and seeing what they get up to on an interactive tablecloth that reveals risqué images when warmed. It is a study in improving the dining experience through a creative and interactive play.

What inspires you?

Laughter and a naughty sense of humour. Making creativity available to the masses.

Why are you doing this project? What does it mean to you?

To give print an emotional depth and a narrative. This means that I am able to discover new areas of inspiration whilst developing my techniques.

What is 'future' about it?

The project develops the themes of emotion with interactivity. In the long term this will develop into new avenues of creative interest such as enhancing interactive roleplay between the consumer and the product.

Which materials and technologies have you used?

Thermochromic ink, pressure pads, sound devices, reactive and pigment printing onto cotton and felt, wood, digital printing, ceramics.

Natalie Hand

Natalie received her BA in Textile Design from Central St Martins College in 2004. During this time she worked with a number of companies including Jacob Schlaefer and Milliken. After graduation she was accepted onto the MA Textile Futures course at Saint Martins College. Natalie's work has been featured in June Fish's Designing and Printing Textiles (2005).

Acknowledgements

Many thanks to the AHRC for making it possible for me to do this course and all those that know how to giggle.

Sponsored by

AHRC, The Textile Institute

Contact

nataliehand1@hotmail.com

Amelia Carter - Graffiti Gardens™ : Sustainable Surfaces

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What is your vision of textile futures?

I believe a form of textile exists in everything around us and it's our responsibility to nurture it. If I had to pin my vision down to one specific thing, sidewalks would become grass trampolines.

What is your project about?

Graffiti Gardens™ is about being aware of our surroundings and investigates our responsibility to the environment and to future generations. My collection seeks to exploit natural processes and materials while allowing the user to interact with their domestic environment or, on a larger scale, the urban landscape.

What inspires you?

The architect Louis I Kahn once said, "It is my feeling that living things and non-living things are dichotomous? But I feel that if all living plants and creatures were to disappear, the sun would still shine and the rain still fall. We need Nature, but Nature doesn't need us."

Why are you doing this project? What does it mean to you?

A change in our lifestyle and our impact on the environment is imminent. However, realistic and good-looking solutions are few and far between. In the context of the interiors/exteriors market this project asks two questions: "Can Sustainability be sexy?" and "Is it possible to meet certain aesthetic demands while maintaining an ethical approach?"

What is 'future' about it?

It seeks to ensure that we have a future.

Which materials and technologies have you used?

Cork, ceramics, plaster, copper, brass, steel, slate, water based pigments and varnishes, printing, weaving, laser cutting, casting.

Amelia Carter

After receiving her BFA Textile Design from the Nova Scotia College of Art and Design in 2004, Amelia joined the MA Design for Textile Futures course at Central Saint. Martins College.

Acknowledgements

I'd like to thank my parents for their love and encouragement, support and belief in all of my projects, no matter how big or small. And to our beloved technicians Kevin, Alan and June in textiles, Campbell and Paul in jewellery and Ginger in ceramics: thank you for all your help with this project, you are truly the backbone of the University! Also thanks to Ashley: I wouldn't have survived this city without you, I look forward to many more years!

Contact

carteramelia@gmail.com
http://www.ameliacarter.com
http://www.graffitigardens.com

Urbi Ghosh - Medi-Craft

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What is your vision of textile futures?

Textiles will expand beyond their aesthetic remit to contribute to the emotional wellbeing of the wearer. Textiles of the future will serve novel functions without necessarily sacrificing their aesthetics.

What is your project about?

It is an attempt to use craft to inject beauty into otherwise mundane textile-based medical products. Plasters and bandages are prosaic objects that help heal our wounds. But their sterile functionality does little to heal any emotional wound. I have transformed plasters and bandages into fashion accessories. I demonstrate that beauty can be infused in them without hindering their functionality ? suggesting it can enhance their effectiveness. My product aids in boosting confidence and acting as emotional therapy.

What inspires you?

Memories and objects of the past.

Why are you doing this project? What does it mean to you?

Craft is not mere decoration. Coming from a craft background I believe discovering new uses for traditional skills is a natural way to preserve our arts and crafts heritage. As a child I suffered from arthritis and often used bandages. These drew attention to my illness, soliciting unwanted sympathy or ridicule. When I decorated these to make them look like fashion accessories, they had an uplifting impact. My project tries to harness the healing power of beauty, and transform what is perhaps a painful ordeal into an opportunity to sport something beautiful.

What is 'future' about it?

My product attempts to harmonise physical needs with emotional ones. If textiles can protect or decorate our bodies, why can?t they heal as well? Healing textiles is a recent trend to fashion textiles from natural products that are known to nourish and pamper skin. Combining novel materials and technologies, my project takes traditional skills to the future.

Which materials and technologies have you used?

Fiber-seacell (Seaweed) crabylon (crab pulp), cotton, bandages, plasters, soluble fabric, pearls, silver threads, human hair, hand embroidery, machine embroidery, machine knitting, screen printing, beading and braiding.

Urbi Ghosh

Urbi received her Diploma in Fashion Design from the prestigious National Institute of Fashion Technology (NIFT), Kolkata, India. Subsequently she worked as a Design Consultant for Indian export houses for European markets for four years. Later, on invitation from the government of India she undertook several design projects aimed at developing traditional crafts. She has successfully led several projects that created products for contemporary national and international markets using traditional crafting skills. She also worked as a Faculty member at NIFT specialising in surface design and ornamentation. Her work experience includes working with independent high-end garment makers and specialist designers in Britain. Her work has been displayed in the exhibition ?Fashions? Memory? at The Lethaby Gallery (2005).

Acknowledgements

Many thanks to Michaela Schwarzlmüller of Seacell, Camillo Cantaluppi of Tec Service for Crabylon. I would also like to thank my mother for all her inspiration, Aniruddha for adding colours in every aspect and my friends Angeli, Divya and Carolina for all their constant support and help.

Sponsored by

Material sponsor:Seacell

Contact

ghosh.urbi@gmail.com

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