• Embed Doc
  • Copy Link
  • Readcast
  • Collections
  • CommentGo Back
Download
 
178
Reflective conclusion
Looking at my collection of work objectively, there are elements that I am content with, butthere are also pieces that I feel I could have pushed more, especially in a design context. Asstated earlier in
Volume II: studio research
, at times my lack of technical ability hindered myability to create the forms and shapes that I was proposing to construct, which may haveresulted in less challenging design ideas being pursued. However, feedback that I havereceived throughout the process suggests that the project work successfully achieved what itwas intending to do, which was to confront the viewer to question the position of the work created as fashion or art, and challenge the perception of social constructs regardingknittings’ identity and historical positioning.Having the opportunity to present my work in the public arena at an early stage of development was also seen as an opportune moment to gain valuable criticism, comment andadvice, regarding the direction that the ‘body work’ was taking. I was invited to speak as anartist at one of the exhibitions that my work was appearing in, which allowed me to note theaudience’s reaction when presenting the design concept, and the proposed direction I wouldbe taking in order to complete the additional body of work. These valuable comments andsuggestions from the public, supervisors, work colleagues, and research participantsinterested in tracking my progress, have resulted in a rich outcome of body pieces.However, while the suggestions and comments served as an indicator regarding directions topursue, such as techniques to explore and knitting yarns that could be combined with theexisting materials that I had already adopted, I still needed to consider that I was not loosingfocus and allowing the project to become excessively broad by including too many newideas. From previous design experience, the collection that you create around a designconcept should have a variety of original ideas to support the conceptual development, butshould not include too many disparate elements which can become confusing andambiguous.
 
179
Initially in 2003 when starting the Master of Design (Hon) by research postgraduate degree,my work way heading in an alternative direction, which I am now thankful for not pursuing.In the original proposal, my thoughts were to utilise numerous mixed media and additionaltextile applications, which have now been explored by various designers and artists, and in asense, these techniques are now relatively mainstream. By allowing the research documentto direct my thoughts in an alternative route approximately half way through the project, thishas allowed me to assess where the work would be heading and also explore newtechnologies and materials not so obviously associated with contemporary knitting to date.The opportunity to continue to utilise Australian wool has been an important part of thisproject from commencement.The experience of conducting research at this depth and allowing it to underpin the studioresearch has given me the confidence as a practicing designer/artist to continue to exhibitwork of this nature, and to invite the public to question the contextual position of the work.The research component has been essential insofar as the insight it has provided and the newknowledge it has created such as establishing the perception of how knitting in a traditionaland contemporary framework is perceived. The use of the knowledge gained throughresearching traditional knitting styles, was also useful, in that Aran knitting became anessential technique to explore, with the textural and symbolic qualities providing anexceptional background that could be adapted in relation to the design concept, scarification.The case studies undertaken have also been indispensable regarding the approaches andtechniques designers / artist have utilised, through combining knitting with new mediumsand forms, and how their work continues to hover the boundaries of fashion and art, andchallenge traditional ideals of fashion.Through conducting primary research in the form or an interview / questionnaire andcollating secondary data, I have been able to assess these diverse and various directions anddevelop my own way of design ‘thinking outside the square’. Traditional perceptionsrelating to social constructs have also been confronted and tested through both the writtenand studio research, which has moved away from the research question originally proposed-
Fully fashioned? With contemporary avant-garde knitwear designers blurring thetraditional boundaries of knitted fashion, is this new visual idiom considered art, fashion, or both?
. This question has been recast to give the thesis a more conclusive direction andcontemporary understanding of knitting in society today which reflects the explorative
 
180
nature of the research and outcomes. This was advised due to the duration of the researchover a five year period, which suggested that the original question projected was not assignificant as when originally proposed in 2003, and that the debate considered relating tofashion and art, has moved far beyond the initial proposal.However, the preliminary research question was important during the initial satges of developing the studio research, inthat it gave my work a hypothesis to which I couldcontinually addressed, but as the research document progressed much further than originallyplanned, the question became less relevant, particually once the body of work wascompleted.
of 00

Leave a Comment

You must be to leave a comment.
Submit
Characters: ...
You must be to leave a comment.
Submit
Characters: ...