fashion

FASHION, KNITWEAR AND TEXTILE DESIGN MA Fashion Design MA Fashion Knitwear Design MA Fashion and Textiles by RPT MA Textile Design and Innovation

Yu xuan Gan MA Fashion Design Sophisticated Details and 3D Silhouette in Women’s Occasion Wear My project is inspired by the rose. It investigates a fashion collection that displays a flower’s lifetime. Based on this inspiration, my study focuses on women’s ready-to-wear, which is clothing suitable for special events, such as a wedding, formal garden party or dinner, business ball, dance or cotillion. The audience is mainly youthful women aged 30 to 45 who have stable incomes and enjoy social events.

The project incorporates different textile techniques into fashion design. Create some special details into womenswear. Moreover, the designs of collection are sculptural and wearable. [email protected] Image: ‘The Rose’, an inspirational and sculptural form. By: Yuxuan Gan

Yuri Nakamatsu MA Fashion Design Beauty and Longevity in Embroidered Fashion I am investigating into beauty and longevity in embroidered fashion. After researching the meaning of longevity and things that are beloved, I have created a collection of embroidered women’s wear fashion inspired by natural organic shapes of Georgia O’Keeffe’s paintings and geometric forms of Wallace Cunningham’s architectures.

My garments are informed by the embroidery, allowing the stitches to mould onto the body. My aim was to apply embroidery not only for decorative purpose, but also to integrate it with the body and the garment design. My customers will be able to mix these timeless pieces with their own clothes, treasuring and keeping them for many years. [email protected] Image: Experimenting with an embroidered piece of chiffon georgette. By: Yuri Nakamatsu

Nigar Zeynep Ozdemir MA Fashion Design A Friend of Mine The concept for this collection is grounded in primitive civilizations such as Mayans and other indigenous cultures. I am inspired by the sustainable elements that are fundamental to their lifestyle with regards to their belongings, rituals, spiritual ceremonies and the primitive iconography that often reference animals, numbers and decorative motifs. I used elements of this rich visual heritage to juxtapose with contemporary shapes and materials that will inform most of the core collection. This is an upcycled, unisex collection, full of playful experiments in design, which links ethical and sustainable fashion. Erasmus exchange student (Istanbul, Mimar Sinan Fine Arts University)

[email protected] Image: A Friend of Mine... By: Nigar Zeynep Ozdemir

Shwetha Shanthakumar MA Fashion Design The Metamorphosis of Waste Towards Eco-Driven Fashion With extensive focus on ethics, climate change and environmental impact, this concept is aimed at reinvention – of materials and how we use them, of the value of waste, of both the role of the designer and the individual wearer. Translating into a sustainable women’s wear collection, focusing on the use of two and threedimensional structures, this concept explores the joy of uniqueness – a stark contrast away from mass production and towards individual celebration, with materials being the driving force. Giving breath and life to things redundant and discarded, end-of-roll waste and manufacturing off-cuts are transformed, reworked and renewed, and leftovers are repurposed to become valuable and desirable. Incorporating a kitsch-collage of posters from Indian cinema,

this collection focuses on using origami and patchwork to inspire a range of structured, edgy and wearable pieces, for the young, eclectic, eco-aware consumer. This concept began as a thought, a moment of possible madness, and my mind worked overtime to fathom how I might reuse and re-energize scraps. This project follows a personal perspective – establishing my own fashion label - but one that has potential relevance for future change and, for vision about the way we approach design – by instinct, by restriction or by purpose. [email protected] Image: Illustration – Metamorphosis of waste towards eco-driven fashion. By: Shwetha Shanthakumar

Sze Sin (Glori) Tsui MA Fashion Design An investigation into creating fashion in an eco-friendly, long lasting and multifunctional way “The past isn’t dead. It isn’t even past.” William Faulkner Every old garment contains some memories of people who wear it; they hold the tears, laughter, smiles…they hold the past and a piece of the lifetime of their owner. My work is about a collection of memories. The aim of this project is to create innovative, sustainable fashion with transformable elements. This collection is inspired by the unique Cubist perspective of multiple views of an object. By combining waste fabric and transformable design details to disassembled, used garments, recreated in a new form, the memories within the pieces will be given a second life.

[email protected] Image: Illustration of the upcycled shoulder piece. By: Sze Sin (Glori) Tsui

LI-HUA WANG MA Fashion Design My MA study is inspired by both the physical nature of floral forms and the different meanings attributed traditionally, to the giving and receiving of flowers. In creating my collection for young women I have been inspired by the use of this covert language to communicate and interpret locked away, secret emotions and sentiments such as jealousy, faith and unrequited love.

Within my collection emphasis is placed upon exciting and unique combinations of colour, silhouette and surface pattern. These are developed through experimentation with a range of modern and traditional technologies including digital print, multi-head and hand embroidery, and appliqué to create an exciting, accessible and uniquely feminine design concept. [email protected] Image by Li-Hua Wang.

Disheng Wu MA Fashion Design A Menswear Collection for the Chinese Market Inspired by British Style and Humour My menswear collection is aimed at the young professional Chinese consumer who aspires to wear garments that express ‘British style’ and humour. This collection is inspired by old British comedy films and icons including Charlie Chaplin, Norman Wisdom, Laurel and Hardy and their contemporaries such as Lee Evans. Using classic British tailoring techniques and fabrics my collection comprises of a range of tailored garments with classic detailing but hold garment proportions inspired by the clothing of British comedians in classic films.

I have developed a range of printed linings incorporating traditional Chinese symbols and colours to counterbalance the muted tones within the pure wool fabric range selected for the main tailored pieces. (Awarded PG Diploma)

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Shu Zhang MA Fashion Design An Investigation into the Combination of Fashion Fabrics and Sculptural Shapes and Forms My work investigates the manipulation of materials from two-dimensional surfaces to complex three-dimensional forms inspired by contemporary architecture. Using curved elements from architecture, I aim to enhance the dimensional sense of materials, enrich my design aesthetic and create different visual effects for my customers through expressive techniques. The conceptual garments include dramatic sculptural details which are suitable for celebrities and exhibitions. My garments combine the technique of padding and creative cutting in conjunction with textile processes, focusing on monochromatic colour and bleaching, to realise the idea of exploiting 2D materials into innovative 3D forms.

These pieces challenge the conventional notions of female body enhancement, by placing emphasis on the shoulders, hips and back. This approach reflects a philosophy that uses materials to form sculptural volumes around the human body. [email protected] Image: Sculptural space around the human body design. By: Shu Zhang

Amy Baker MA FASHION KNITWEAR DESIGN Street-Luxe Inspired by my time spent in Tokyo on the Paul Smith Scholarship, I have developed a sport-luxe concept of luxury women’s knitwear enthused by sportswear and men’s streetwear. I aim to challenge traditional preconceptions of knitwear through process and materials, combining luxury with an urban aesthetic. Architecture and graffiti, the kimono, hip-hop and the eclectic styles of Harajuku, combined with research into trend, urban culture and aesthetic in the UK have formed the basis of the East and West fusion that underpins my concept. Significant contextual references have been the work of streetwear brand ‘A Bathing Ape’, the knitwear of Louise Goldin and Jil Sander as well as Paul Smith’s ‘A cycle Through London’ collection.

Creating a simultaneous link between fabric and garment design, drawing has acted as a vehicle to explore shape, colour, composition and proportion. Knitted and printed fabrics contrast subtlety with vibrancy, opacity with transparency and reflection. Inspired by the shape and construction of the kimono, basic garment shapes incorporate details such as hoods, pockets and drawstrings to emulate an urban streetwear aesthetic. [email protected] Illustration by Amy Baker.

Yong–Jin Kim MA FASHION KNITWEAR DESIGN Contrastive reflection for new silhouettes I am inspired by the movement and structure of muscles within the human body. I have created a collection of fabrics which have been influenced by the twists, folds and 3-Dimensional shapes which I have observed. Knitted cords have been used to create plaits and knots; these have been applied to woven fabrics by threading through laser cut holes. My investigation into combining knitted and woven fabrics aims to explore contrasting fabric qualities. I have tried to make distinctive pieces of timeless knitwear and create designs which highlight volume and drape within the silhouette. I have found that when knitted fabrics are combined with other materials a greater variety of silhouettes and styles can be achieved.

[email protected] Image by Yong–Jin Kim.

Katie Purslow MA FASHION KNITWEAR DESIGN Treasuring Imperfections: sustainability in contemporary and customisable knitwear My concept of treasuring imperfections within clothing interacts with the wearer, encouraging customisation and decorative mending to prolong interest in one garment, as an alternative to increasing the need for landfills. A timeless collection, using key pieces which encompass various styles achieved through easy manipulation, will enable the collection to survive through generations and passing trends. Subtly marrying 1940s values and mending techniques with contemporary elements to create a desirable and altogether sustainable collection.

Untreated wool is sourced locally, utilising natural dyeing processes and seamless knitting on established machinery to minimise waste. The new ‘must haves’ are made to last and together we can slow down fashion. [email protected] Image: Treasuring Imperfections: sustainability in contemporary and customisable knitwear. By: Katie Purslow

Jane Taylor MA FASHION KNITWEAR DESIGN Knitting Shadows Through this MA, I have explored the relationship between design, pattern cutting and knit construction, to develop an engineered system of garment making, in which the emphasis is on the processes and technologies used. Motivated by the current move towards ‘zero waste’ garment construction and ‘whole garment knit technology’, I have developed a design methodology through which I create garments from one flat piece of fabric. Each piece comes off the machine as a complete garment, no waste, which the wearer can construct and deconstruct, appreciating both the 2D and the 3D.

Taking inspiration from Rei Kawakubo, who ‘devotes the same attention to the form of the garment when it is lying flat as when it is worn’. The garment silhouettes are developed through the knit process and inspired by the Japanese aesthetic, Wabi-Sabi, which is ‘a beauty of things imperfect, impermanent and incomplete, modest and humble and things unconventional.’ [email protected] Image: Photography by Hilary Shedel

PANJAPOL USAVALAPNIRUNDON MA FASHION KNITWEAR DESIGN Met·a·mor·pho·sis This research is an experimentation of combining old crafts with modern technique. It examines the balance between masculinity and femininity, by changing the role of men through introducing more traditionally feminine fabrics such as lace, and incorporating lace into menswear. I am interested in exploring this transformation, and have developed a transformative knitwear garment that changes from a rabbit (a symbol of femininity) into masculine trousers. [email protected] Image: Transforming bunny legging. By: Panjapol Usavalapnirundon

Samantha Barker MA Fashion and Textiles (RPT) A Responsive and Interactive look at Skin in its ‘Real’ and ‘Perfect’ State Intrigue in the impact of the aesthetic ‘visual’ image has exposed me to themes such as havoc, the ideal, contrast, synthetic and the natural. By combining both construction and image development, the research has taken on a conceptual focus in creating a ‘second skin’. The initial question driving the project was defined by social interaction and, while this still has importance, it is the shape, form and texture and their reaction to the female form, both mannequin and real that has precedence. The relationship between the textile and image investigations has led to the development of inter-relating imagery with a focus on capturing the moods of surface textures responding to the environments in which the images have been styled on the female form.

As a conceptual stylist, this collaborative practice has invited me to consider how clothing, make-up and adornments can act as a second protective form to our real skin and natural state. The reasoning for this is my fascination with the act of concealing and revealing, particularly its variation across cultures and trends. Placements and collaborative projects as an artist and journalist have supported this ‘story telling’ in the quest to uncover conceptual meaning behind my project. [email protected] Image: Epidermis: Protective Form By: Styling and woven textile by Samantha Barker. Photography appears courtesy of Tom Martin, 2011. Model: Rebecca Sampson.

Kayleigh Dyche MA Fashion and Textiles (RPT) Exploration into the Manipulation of the Human Anatomy My aim was to challenge our traditional conception of style and beauty, and to develop an advanced level of creative pattern cutting through extensive experimentation. I am exploring every aspect of the female form through pattern cutting, to further develop my creative handwriting. I am studying female form and emphasising feminine curves, focusing my designs, technical skills and portfolio on my chosen career path. I am inspired by the beautiful, elegant shapes formed by the muscles of the human anatomy, more than the slim un-natural silhouettes that we see in today’s fashion-conscious world.

In particular the works of Leonardo da Vinci and Jacques Fabian deeply inspire me. I love the intensity and beauty of each layer that builds who and what we are. My aim was to apply this complexity to my own more modern designs. My work combines sharp, tailored cutting with a fashion-forward appearance, creating an innovative and directional look. In addition to this I am creating my own avant-garde textile prints, using off-beat colour combinations. My designs are unique and have a distinctive image suitable for my clients. [email protected] Image by Kayleigh Dyche.

Laura Harvey MA Fashion and Textiles (RPT) ReIngarment My work investigates the feasibility of reusing previously owned fabric in bespoke / luxury clothing production, thus implementing the environmentally ethical concept of ‘upcycling’ using waste materials to produce products of a higher value. I explore the practical boundaries of deconstructing and re-cutting a garment, as well as the relevance of traditional hand-tailoring techniques when applied to contemporary and creatively cut clothing. I use print to discuss my design inspiration Victorian London - dealing with themes such as morbidity and the effects of the industrial revolution.

[email protected] Image: Deconstructed jacket by Laura Harvey; Clockwork Wing, Dani Allen, 2011.

Amy Johns MA Fashion and Textiles (RPT) ReSearch My MA is as much about my experience and personal development as it is a final body of work. Throughout this process I worked for UK brand Joules as a contracted menswear researcher for new ranges and licensing collaborations. I also gained first-hand experience of working for a senior menswear designer within a global forecasting company, Stylesight. This has helped me gain a thorough understanding of the menswear market and the potential for future growth and improvement. My academic and aesthetic approach to menswear has developed and given me a much greater insight into the menswear sector.

As an RPT student, the first year has had a huge influence on my work and myself as a practitioner. My knowledge and understanding has developed from commercial to conceptual. My final report identified and analysed several concepts that have influenced my research, alongside an ideas-based publication that represents my interest and innovative design for menswear. I strongly believe that this body of work will facilitate the next stage of my career and enable me to fulfil my ambitions. [email protected] Image: Illustration practice. By: Amy Johns

Sue Turton MA Fashion and Textiles (RPT) My research explores laser technology and its impact on creating unique craft products which retain a handmade element. I have drawn inspiration from, and attempted to preserve knowledge of, traditional Moroccan and Indian craft skills. I have used this inspiration and understanding alongside laser cutting and engraving practices to create a series of products. Through experimentation with interaction between design skills and technology, I have often created the unexpected, which in turn has created unique and authentic pieces.

My research also recognises current trends which emphasise the demand for the authentic and handmade, and in response to this, I am exploring the market demand and its relevance to my products. [email protected] Image: Detail of laser cut and hand-sewn leather wall hanging. By: Sue Turton

Allison Waite MA Fashion and Textiles (RPT) An Exploration of Knitted Structure: How far can knitting machine technology innovate and influence the design process? This body of work is an investigation of knitting machine technology mediated by intuitive craft skill-based practice. It seeks to examine the relationship between how the tools inspire the design process in the context of Fashion Knitwear design. The process is not an end in itself, but a reflective discourse between the analysis of low technology (handmade) and digital technology (machine) production methods. This exploration has led to knitted fashion products that cannot be instantly defined as hand or machine made and as such they exist in a place that combines the reasoning and processes of old and new technologies.

[email protected] Image: Gilet, back view. By: Allison Waite

Hannah Wroe MA Fashion and Textiles (RPT) A historic based study which questions the relationship between skill and learning within fashion My work investigates pattern cutting and construction techniques found within the period 1935-1955 and considers its relevance and value for contemporary designers and students within today’s global fashion market. This period offers a rich source of couture cutting and traditional hand craft-making techniques. By uncovering the potential learning which can be found within historical garments through in-depth analysis and reconstruction, my work offers an assessable way for this to be translated into current fashion design practice.

My work explores the historical context of these garments; reflecting on what social, technological, economic and political influences have shaped this period within fashion design. Specifically I have looked at the evolution of the ‘summer dress’ and how the home dressmaker interpreted fashion between 1935 and 1955. [email protected] Image: North American smocking By: Hannah Wroe

Katy Aston MA Textile Design and Innovation Fison-Zair: Form Follows Fun Working under the brand Fison-Zair, I specialise in printed textiles and laser cut designs for interiors. I explore innovative surface qualities that span a range of applications and create bespoke designs for up-cycled furniture. Both my grandfathers, Fison and Isaiah, were craftsmen in Sheffield steel works and were always cleverly resourceful, making and repairing everyday things. I aim to continue their legacy through my work for Fison-Zair. My designs aim to engage and challenge the viewer. I strive to combine functionality with fun to create a dialogue between object and user. My work explores the creative potential of cutting-edge technologies whilst pushing the boundaries of traditional craft techniques. Designs encompass a range of materials from linen to leather to wood and combine digital and screen printing processes, laser cutting,

and marquetry techniques. Colour and process have become the prime focus of my design theory. I have been fortunate to travel and to explore new places and cultures which has enabled me to view my home and once familiar objects with a refreshing new perspective. This has inspired me to explore how people interact with objects, and to question how design can become emotionally durable in order to increase longevity. [email protected] Paul Smith Scholarship Image: Printed textiles and laser cut wood and leather. By: Katy Aston

Nyasha Chivaura MA Textile Design and Innovation My project has been inspired by the revival in vintage style and textile remnants from the past. My designs have been configured around organic forms found in nature, samples in the Nottingham Lace Archive at NTU and geometric patterns from the 1960s. My MA research has allowed me to capture interesting historical elements, translating them into a contemporary textile collection. My work seeks to integrate traditional and contemporary processes such as hand and jacquard weaving, screen and digital printing and laser cutting. Using these methods has enabled me to design a commercial collection of ‘new vintage’ interior textiles, including abstract patterned and textured weaves, prints and laser cut wallpapers. (Awarded PG Certificate)

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Xiaoyue Cui MA Textile Design and Innovation Innovation - The classic, the traditional and the contemporary My inspiration comes in many ways, from classic chinoiserie, such as the blue and white porcelain vase or the traditional snuff box. To contemporary designs, like Tord Boontje’s laser cut works and other more modern interior products. By looking at these pieces, I am able to explore traditional form and surface pattern, and then by using modern technology I can generate new ways of making them. Combining classic designs with contemporary processes, I have tried to merge embroidery and hand knitting with acrylic to create contemporary decorative artworks that maintain a strong Chinese character. My patterns are generated from traditional Chinese surface designs that use elements

such as the cloud, water and the phoenix motifs. I have re-presented these patterns in a contemporary context by using methods of abstraction, selection and deformation. In some of these works, I have combined embroidery with acrylic. In other works I have merged embroidery techniques with hand weaving and laser cutting. These processes offer new ways to address traditional techniques, breathing new life into old designs, enabling me to design a wide range of decorative products, from vases to table cloths and runners. [email protected] Image: Embroidery with glass. By: Xiaoyue Cui

Luisa Fernanda Gil MA Textile Design and Innovation Textile structures My project explores the potential application and functionality of geometric tessellated structures within wearable textiles. It engages with fibre qualities, fabric construction and manipulation techniques to alter surface behavior and reveal new properties.

My work seeks to improve lifestyle and well being, providing healing, comfort and flexibility of movement to enhance functionality alongside the aesthetic value of textiles.

Working with digital embroidery, I have explored stitch density and fabric manipulation techniques to create three-dimensional structures. Recently I have interpreted these designs through specialist yarns with healing properties, such as chitosan, to construct fabrics on the jacquard power loom.

Image: ‘Structured embroidery’. By: Luisa Fernanda Gil

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Randi Grønnerød Huseby MA Textile Design and Innovation Organic Structures My MA project is an ongoing process of exploring textile design by combining and responding to the properties of different materials. The designs are inspired by structures, mostly shelters built using found materials. This source of inspiration informs both the process in which I work and the visual design research. My aim is to design textiles utilising a combination of processes – digital printing, embroidery and manipulation -considering and also highlighting the natural irregularities of the material rather than striving to create uniformity in the compositions.

[email protected] Image: Felted Quilt. By: Randi Grønnerød Huseby

Jung Hoon Kim MA Textile Design and Innovation Traditional and Contemporary approaches to Scarf Design When I first saw a Hermes scarf in 2007 it made such an impression on me that my heart throbbed. The scarf was rich and delicate and the whole experience made me want to further my design towards this area.

My designs are colourful and complex and express a sense of nobility and legend with a contemporary slant.

Since the advent of digital textile printing there is almost no restriction in textile design in terms of use of scale, repeat and numbers of colours. The development of digital print has led designers to print new and novel images which are impossible to print with traditional bulk textile printing methods.

Image: Horseman (90 x 90cm, silk twill). By: Jung Hoon Kim

I believe that colourful, layered digitally printed designs are competitive in a high level market because there are fewer stages of production compared to conventional printing methods.

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Antonia Müller MA Textile Design and Innovation “Disappearing/Reappearing” “You cannot step twice into the same river.” (Heraclitus) Inspired by 1920s city symphony film, expressionist art forms and my own visual research carried out during prolonged stays in cities such as Tokyo and Berlin, my work revolves around ideas such as movement, constant change and impermanence enforced by the momentum of urban living. “Places are not frozen in time, they are processes.” (Massey:1994)

The technical focus of my work lies in the aim to combine knitted fabrics with a variety of discharge and print processes exploiting the potential of black yarns in order to create knitted garments. The result is a conceptually driven, highly technical project which explores innovative approaches to construction and extraction. [email protected] Image: “Study” By: Antonia Müller

Srinad Pirohakul MA Textile Design and Innovation Weird but Cute Due to my passion in childrenswear and textile design, I would like to create a new aesthetic 2D / 3D textile for childrens’ clothes in order to generate my own brand. Childrenswear is becoming more unique since the fashion trend is moving towards children, not only adults. As this industry is growing continuously, I decide to create textile design for childrenswear for my MA project.

My project focuses on image, pattern, and colour. My main theme is “Quirky kitsch”. I am intended to use the inspiration from nature (eg. animals, plants) and combine this with stylised drawings of people. The aim is to create a new aesthetic - mixing real-life / photographic images with fancy world. Scale, colour, pattern and photography are explored in this project. A range of techniques is utilised - digital printing, multi-head embroidery, hand embroidery and applique. These are integrated to introduce more complex 2D / 3D surface to the fabric. [email protected] Image: 3D collar with pieces of print. By: Srinad Pirohakul

Amber Mae-Ling Thomas MA Textile Design and Innovation Encapsulating Woven Structure In my work I have focused on combining traditional hand-woven structures with contemporary glass processing methods, to generate new composite fabrics and cast glass pieces. This has resulted in a range of innovative techniques that are truly unique to produce pieces that freeze and prolong the life of these fragile textiles and also encompass both their beauty and presence. This has developed in three primary directions: – The creation of lightweight hand woven fabrics using fine wire yarns that play with light and shadow. – The encapsulation of woven wire inside solid blocks of glass that capture the movement and softness of the textiles. – The merging together of wire mesh with fused glass; combining the fluidity of fabric with solid forms.

Through the combination of these materials and the juxtaposition of their inherent qualities I am able to fabricate contemporary, bespoke and handmade products. These artworks have applications in architectural contexts for interior spaces, across commercial, retail and residential settings. In the future I hope to work closely with clients, to create novel and personalised solutions, designing and producing similar concepts that operate within these different interior spaces. [email protected] Image: Hand woven structures combined with glass processing techniques. By: Amber Mae-Ling Thomas

CHERYL YOUNG MA Textile Design and Innovation ‘Good things come to those that wait’ My project investigates the relationship between fashion and the use of digitally printed textiles with the 1940s to 1950s influencing my design. The collection is based on the idea of an ‘All Year Round Dress’, inspired by the classic shapes and simple detailing of World War Two fashion. A collection of digital prints is presented on a timeless silhouette - emphasising the concept of slow fashion, allowing the shape to be constant but the nature of the design to change. I am fascinated by form, colour and reflection found in vintage glassware and I have used Arthur Johnsons Auction Centre as a continuing source of inspiration for the development of my prints. [email protected] Image by Cheryl Young

Xue Jiang MA Textile Design and Innovation An investigation into Vintage western Garment and Ethnic Chinese costume My current theme investigates Vintage Western Garments and Ethnic Chinese Costume and how they can be combined to create innovative fashion fabrics / textile samples and trims. Through investigations into historical garments I have been inspired to create a collection of textiles with a unique blend of patterns and colour from both cultures. My work combines digital embroidery, digital print and laser cutting I have chosen to work with silk, silk floss, tulle, lace to develop my design into a contemporary range of fashion textiles and trims.

[email protected] Image: Describe time by heart. By: Xue Jiang

Ying Zhou MA Textile Design and Innovation 3D Floral Textiles My project investigates the use of three dimensional textiles within the bridal and occasion wear designer level market. My work combines traditional Chinese paper craft, embroidery and laser cutting to produce a range of lavishly embellished fabrics inspired by flowers and there spiritual meaning. Inspired by elaborate floral garden displays, observing how colours and patterns combine in the natural world and studying the gradients of colour on the petals, structure and texture of flowers I have taken ideas for three dimensional floral designs.

Using a palette incorporating shades of ivory, oyster, vanilla, shell pink, pale gold’s and white enhances the three dimensional forms within the textiles. [email protected] Image: Detail of textile sample. By: Ying Zhou