Life Cycle Analysis.

Another recent university project was about sustainability and product design. The brief was to work in a group, take an ubiquitous product and deconstruct it into its parts, weigh each component, undertake a Life Cycle Analysis of it, and produce an  A2 poster with relevant infographics.
My group, consisting of myself, Eva, and Ali, decided to focus on a STABILO Boss Original highlighter seeing as it is a frequently used stationary item yet one that not many people think about the environmental impact of.
As well as participating in some of the research, I illustrated the process tree (to depict the journey from the raw material of oils, to the highlighter's final destination as landfill), and illustrated the highlighter (in deconstructed and infographic forms). Special thanks to Ali for designing the layout of the poster and putting it all together! 

A woven identity.

A recent project I completed for university was a wearables and visual storytelling project. 

Inspired by Australian Aboriginal possum cloaks, we were given a brief asking us to create a wearables piece that visually communicated a story from our own lives. 

I decided to focus on my identity as half-Australian and half-English and my obsession (for want of a better word) with Ireland (the Republic of Ireland and Northern Ireland). I also wanted to challenge myself and use materials that I hadn't used before and in an unconventional way. 

I conducted some initial research, including material research and experiments in weaving Australian gum leaves together. However, it was when I was altering my 'inspiration wall' that I came across the form of an Elizabethan ruff. I conducted further research before I decided to construct an open ruff as opposed to a closed ruff.

The more I thought about this form the more I realised how appropriate it was to my concept. A ruff, in the Elizabethan era of 1558-1603, was typically worn by Her Majesty and other members of the higher classes. Elizabeth's position as the reigning monarch and, indeed, 'membership' into the higher classes, came through family. Hence the ruff was well suited to my exploration of my dual cultural that is formed due to my familial background.

Additionally, having previously studied the construction of history and, in particular, how Elizabethan portraiture and imagery was constructed, I was aware of my own subjectivity and that in being given a project in which we are to depict our own stories, the designer is able to present themselves as they please. 

The actual construction of the ruff took days to make but was well worth it in the end. 

The base of the ruff, the fan element, was formed with gum leaves that symbolise the Australian landscape which I am physically connected to. 

The basic form

Through this I have woven through elements symbolic of British and Irish culture and my connection to family. These elements include an emerald green ribbon which represents Irish culture and history and my experiences of travelling through the Republic. This, when the ruff is worn, becomes a dandy bow (as seen here on the dandy and all-round incredible Irishman, Oscar Wilde) to further symbolise a period of history and an ideology (that of the Aesthetic Movement - I highly recommend this short video!) that I am highly interested in.

The woven layers start with leaves made from pages of Jane Austen's novel Emma, chosen due to my connections to the novel because of my name and also to represent my deep interest in Jane Austen and her writings.

Above this is tartan from the Clan Buchanan. Whilst I am not of Scottish heritage, this tartan reminds me of a time spent with my grandparents in England and of my interest in Scottish culture.

The third layer is a calico strip hand-sewn into a medieval-style banner shape. Hand-drawn onto this are 19 Saunders coat of arms to strongly display my family history and connection to England. These were then painted with a small blue or red border around each of them, to draw in the typically British colours.

The final layer, meanwhile, are more leaves sewn together. Instead of pages from a book, however, they are made from film promotional materials (which I collect) for British films that I have seen and greatly enjoyed. These include my beloved Bright Star, An Education, Amazing Grace, Nowhere Boy, and Brideshead Revisited.

Front view

Back view

Here are a series of close-ups:

I also drew accompanying storyboards.

Parents, Physical connections and emotional distance

In the National Gallery (Gainsborough), Reading Austen (Persuasion and a pile of others)

Watching TV (Monarch of the Glen, Doctor Who, Sherlock), Listening to the greatest band (The Beatles)

Together

In presentation mode:

Being worn:

Back of the head.

I'm really interested in how much character can be seen, or displayed, by viewing someone from the back. Portraits tend to focus on the front or side of someones face, frequently relying on their eyes, facial expression, and even the positioning of their hands to depict personality. But what about when you recognise someone from behind? Or think you do?
What about sitting behind someone and wondering what they do for a living? What kind of day they had?
So much can be conveyed from the way someone stands, sits, positions themselves within a space. The way they have their hair, the clothes they are wearing, all combine to form an idea of someone; an idea formed only from seeing the back of their head.
This is only the start of my exploration.