Throughout the duration of the ‘Research and Communication Skills’ I have aimed to become more diligent to maintain a constructed and accurate timetable to complete each task; some tasks have been more engaging than others. However, they have all been very beneficial and I feel as though I have learnt valuable skills, which will aid me in the future.

The combination of both the Communication project and the portfolio has been a nice balance and has influenced my work throughout the continuing fashion-based projects. It has also made me reconsider how I view fashion. Particularly the latest task, the involvement of ‘Ethical Issues’ has transformed the depiction of women and how the world sees them as a sexual conquest and nothing more than a glass frame. This has made me more aware of the issues that we face as a generation and society, so perverse by sexual desires that there is no modesty.

Other involvements which are more analytical such as Harvard referencing have contributed to my other projects and have encouraged referencing throughout my sketchbooks and research files. Learning to range my sources of research was very important as usually I would dedicate my findings to the Internet, although discovering the use of the library and how important it is to find useful facts that are professionally checked and valid was very difficult online in comparison.

Another form of research which I have realised is difficult to work with is primary research, there is a noticeable lack within my work and I have tried to act on this and involve much more through visiting local areas. I intend to research more, I feel that the reason I cannot develop further in many of my projects is because of the lack of this, there is limited first-hand research. To resolve this, I could take photographs and even complete basic drawing.

The task of ‘Reflective Writing in Fashion and Textiles’ was surprisingly easy to write about as usually I have trouble reading books and incorporating several quotes in any written essay. However, in reflection through the preparation that went beforehand with many of the other essays I found the work easier. In some way they were like a warm up to the later essays which I have written.

The most challenging task for me was the ‘Visual Research’, I constantly feared that I wasn’t doing the task correctly by selecting Vincent van Gough one of the artists from my mood board. My main concerns were whether I had written enough or not; word counts slowly became an obsession which has gradually made me work lack in quality. In many ways the essay became almost a biography of Van Gough’s life. Although I believe that this has slowly sorted itself within the work.

The modules have been very beneficial and have supported my additional work outside the classes. I found every element enjoyable and would recommend continuing this through to the future years of this course – learning Harvard Referencing has been particularly useful, and I eagerly look forward to continuing this in the following semester.

Advertisement is a very dominant subject, it can sculpt cultures and civilisations and has a large part to play in society. Through its influence and particularly fashion media, as this affects everyone as everyone is a consumer of fashion – to deliberately have such power and use it for inappropriate visual communication and personal benefit is vile…but unfortunately sex sells.

I have chosen to address the inappropriate ‘taste’ of an advertisement by Duncan Quinn, which features a woman in her lingerie spread on top of the bonnet of a car. I feel the photograph is strongly degrading towards women, especially considering the content but also the difference in dress between the male and female actors.

This irritation is led by the composition and superiority of the male actor, though such a simple change he is altered by the media to be perceived as a rich man and gives a concealed sense of superiority to all men. The chemistry between the two doesn’t flow and instead this is changed by the appearance of a tie around the woman’s neck which being held by the man. Immediately there is this change to the image that instead of the actress freely exposing herself, she is introduced to the audience as a sex slave. A mere dog on a leash, being subject to her masters desires. The expression the male actor is showing has a sense of pride, the appearance that he has caught- she is his trophy. This materialising of a woman, not as though she is human and an equal but as though the world is his competitor and she is who they are after.

One noticeable quote I found by GQ magazine was the comparison they made between Jimmy Saville and Duncan Quinn; GQ magazine aimed at a male audience and within it they described Quinn as: ‘Saville row meets rock ‘n’ roll  –  Duncan Quinn is the maker of unique ties and accessories that will always get you a second look’.
Unfortunately, I couldn’t find out when the quote by GQ was written, however the sexual tension is noticed and highlighted by the magazine, despite this magazine being aimed at a male audience even their comparison is something to notice. Could they be shocked at his advertisement and change?

We as a generation have been numbed to this way of thinking, there is almost a normality about the nudity that can be seen in advertisement which is worrying. Both to the identity of the models/actors but also to that of the audience; the damage that has been left is quite scarring; it questions people’s acceptance into society and fears which are almost uncontrollable. Especially with females as they are viewed as ‘essentially silly …the idea that it is every woman’s chief preoccupation to arouse male desire’. – Wilson>.E (1985) ‘ADORNED IN DREAMS, FASHION AND MODERNITY’, I.B Tauris & Co. Ltd London, New York.    P92.

The use of this genre of media has left people to have eating disorders, self-harm along with other factors and I am hurt to know this truth continues.

Wilson.E (1985) ‘ADORNED IN DREAMS, FASHION AND MODERNITY’, I.B Tauris; Co. Ltd London, New York.    P92.

Dr L. Holombe. (23rd November 2017)‘TASK 9 and 10- Ethics Images: Duncan Quinn’, Lecture Theatre A, WSA, Winchester School of Art

GQ Magazine quote (n.a) ‘Duncan Quinn’  http://duncanquinn.com/  (27th November 2017)

Throughout reading the first chapter of ‘FASHION MEDIA, PAST AND PRESENT. 1. TASTE, FASHION AND THE FRENCH FASHION MAGAZINE by Sandra Miller’. I felt that Miller was passionate about how threatened the fashion industry was and is by the art industry, how once they collaborated with one another but now no more. The collaboration gave a superiority to the fashion industry, it was the source of inspiration for many artists and was the ‘leader’ within their relationship.  

Within the article there has been a strong reference of the influence of the French Revolution and how this redefined the placement of the French within Fashion; there is a reclusive block missing from the Parisian fashion timeline, this is conclusively down to The French Revolution. Especially as it was referred to as ‘the bloodiest revolution in European History’ Miller.S (2013) ‘TASTE, FASHION AND THE FRENCH FASHION MAGAZINE’, within ‘FASHION MEDIA, PAST AND PRESENT’, New York, Bloomsbury Academic 2014.  p17.  

One element discussed within the beginning of the sub-section of ‘TASTE AND THE EMERGENCE OF THE CRITIC’ was the ‘experience of beauty transcended personal opinion’; to me it gave a different insight between the aesthetic acceptance and the appreciation of artwork; giving the context of ‘taste’. Throughout the article Miller has used numerous references which have credited her work; several being Anthony Ashley-Cooper, David Hume and Edmund Blake; their more philosophical work is based with “Beauty is in the eyes of the beholder’-affirming that there is no common denominator in our lives’.

I extended research to discover more about the French Revolution, trying to understand how the people must have felt during this time and why the revolution started; within the article Miller uses the words ‘a society about to disappear’. These words became eerie and unsettling.
Finding a painting depicting an aristocratic lady ‘suckling’ Miller.S (2013) ‘TASTE, FASHION AND THE FRENCH FASHION MAGAZINE’, within ‘FASHION MEDIA, PAST AND PRESENT’, New York, Bloomsbury Academic 2014   p17 her baby. The high aristocratic life was about to collapse to the Revolution, a barrier once separating artist Pierre-Thomas Le Clerc from his work was giving way.

I watched a video that exercised the history of revolution through a song performed by Jeffery Lewis. Lewis claimed that the revolution was ‘the biggest change that shaped our western world today’, this I agree with. It removed the relationship that artists and designers have and the content of what they paint. The revolution created a pause within the Fashion industry and designers became less intrigued with Paris and sought inspiration from the remaining close world, London, Britain.  

The most significant element for me is the recognition that fashion is something to take seriously, it’s a necessary subject and isn’t something to be dismissed.Within the book: ‘ADORNED IN DREAMS, FASHION AND MODERNITY’ by Elizabeth Wilson after a quote by Lehmann, Ulrich (1999), ‘Tigersprung’. Following this Wilson says, ‘Thus fashion, most marginalised of all arts, lives at the heart of history’. Clearly this shows that Fashion is the essence of history, the most intense and large aspects of art in a sense, Fashion is history.

Miller.S (2013) ‘TASTE, FASHION AND THE FRENCH FASHION MAGAZINE’, within ‘FASHION MEDIA, PAST AND PRESENT’, New York, Bloomsbury Academic 2014   p13-21 

History (n.a) ‘FRENCH REVOLUTION’
http://www.history.com/topics/french-revolution
(9th November 2017) 

Wilson.E (1985) ‘ADORNED IN DREAMS, FASHION AND MODERNITY’, I.B Tauris & Co. Ltd London, New York. P227.

Through creating the moodboard, I have found the oil painting ‘SUNFLOWERS, (1888)’ painted by the renowned artist Vincent-Van-Gough an element that I wanted to explore further; through its captivating use of colours and simplicity of composition.

Within the artwork, texture is a true feature that really emphasises the way that the material has been manipulated. Van-Gough uses oil within his work, which was a popular material.

I have had the privilege of seeing this artwork in person. I always thought that the artwork was overworked by the public; their projection of how ‘brilliant’ it is which rapidly made the artwork tedious. However, prints of the work does not do it justice, or project its brilliance. First-hand observation helps you to understand the work in terms of texture and how the material has been manipulated. Including how incredible the application of the work is. Understanding the movement of the brush to inform texture and create something which is much more visually 3D.

The use of colours within this piece also helps create a sense of depth, including the direction of the sunflowers heads; the combination of colour and texture help create something timeless. Researching into the meaning and symbolism of sunflowers was a way that Van-Gough may be trying to communicate an emotion, a story? The magnificent flowers are particularly known for platonic love, faithfulness and loyalty, particularly towards a family member or close friend. Which when reviewing Van-Gough’s lifespan this ‘platonic’ love is profound; particularly the dedication that both his brother and his brother’s wife gave to him. The sunflowers are not only beautiful, but have the possible symbolic gesture towards the couple and Van-Gough’s life. 

I have had a deepening interest into historical architecture; particularly work that has a cultural or historical significance. Ranging my resources has been challenging; however, I have tried to vary using literature, newspapers, and films.

Discovering artist Rachel Kneebone, who is currently showing her work at the Victoria and Albert Museum; I found her work to be echoingly and catastrophically beautiful. V&A Museum (n.a) ‘399 Days, Rachel Kneebone, 2012-2013′ https://www.vam.ac.uk/exhibitions/rachel-kneebon (9^th October 2017).
The appearance is like the Trojan’s Column Italy, which signifies victory won during the reign of the Trojan, the pillar illustrates a graphic novel of their success.

My work has slowly been influenced by sculpture; consequently, I found a book by Judith Collins, who narrates sculptor Eric Gill who uses a range of techniques found on the column throughout his work. Particularly a carpentry effect that has increased attention to detail, took several years of completion. When studying the column, the figures show the story of the capture of Dacian, a country which is now known as Romania.

My last resource found as part of the Daily Mail, has a connection to how I view the Column, there are both the presence of leaders, cavalry and the positions that are pictured are like that on the column itself; the beauty is staggering.

V&A Museum (n.a)
‘399 Days, Rachel Kneebone, 2012-2013′
https://www.vam.ac.uk/exhibitions/rachel-kneebone
(9^th October 2017)

Collins.J (1992)
‘ERIC GILL : SCULPTURE’,
London Lund Humphries Publishers Ltd.
(11th October 2017)

English.R  Royal Correspondent (25^th October 2017)
‘If I bow, Ma’am, will I get a sugar lump?’ Daily Mail
p3

Attempting to discover something that related well enough to my chosen image from the book ‘ERIC GILL: SCULPTURE’  Collins.J (1992), Lund Humphries, London; in association with Barbican Art Gallery. I felt quite challenged, there was a battle of communication and relevance between any possible garment/textile pieces, including the debate of whether information was reliable.

I managed to find an excellent example, which I thought related extremely well both through the influence of layers and colour, the work which was said to be created by Danielle Franklin was created by Chanel- Enania Velcani. Unfortunately, the website that I researched was later found to be incorrect, and didn’t give me a collection which I could reference and research further. Consequently, I had to look at another designer, who I ensured had enough valid information and work that related to my original choice of artwork, ‘Christ Driving out the Money Changers from the Temple’ (1922-3) sculptor Eric Gill. 

My range of resources weren’t as varied as I had hoped. However, I did use a book of sculpture, various websites including watching several videos to enhance my knowledge of the designer Cristobal Balenciaga, who is a strong focus in the collections of Molly Goddard, Gareth Pugh and Josep Font, three of the designers being interviewed within the short videos that I watched.
These can be found at: https://www.vam.ac.uk/articles/contemporary-fashion-designers-on-balenciaga

Balenciaga was known for his manipulation of the silhouette, something which each designer within the short films recognises as his strongest value and all try to replicate this with turning away from the hour-glass figure and involving much more volume to create the simplistic beauty that he did. His simple designs were thought to have been his best work, because of the minimalism. Whereas other designers obsessed over the hour-glass figure and the perfect woman. Balenciaga removed this, meaning you didn’t have to be perfect to wear his clothes.

I discovered more information about Balenciaga from the Metropolitan Museum of Art, New York, https://www.metmuseum.org/TOAH/HD/bale/hd_bale.htm; where I learnt about his past including the ways that he came to be known in the fashion industry through designing for royalty.

Having to adapt my work because of incorrect information, I made the connection between Gill’s sculptural drawings and a silk coat created by Balenciaga for Mrs Byron C. Foy (1955) the rich red colour of the coat can also be found on tapestries and curtains in places of worship and prayer. Most notably this being inside the temple where Jesus drove our the money changers. The colour could also link in with the Christian imagery of the blood of Jesus Christ; this is internationally recognised as a big part of the communion, where bread is eaten to remind the followers of his body and wine as his blood.

I’m sewing heaven (n.a)
‘FASHION DETAILS’
https://artmagamma.wordpress.com/fashion-details/
(14^th October 2017)

Collins. J (1992)
‘ERIC GILLS: SCULPTURE’
 in association with Barbican Art Gallery
Published: Lund Humphries Publishers Ltd, London
(18^th October 2017)

The Macropolitical Museum of Art (n.a)
‘Heilbrunn Timeline of Art History -Evening coat’
https://www.metmuseum.org/toah/works-of-art/C.I.55.76.26/
(18th October 2017)