Semester III: Project Proposal Form Draft 4

24/02/2015


Blog entry 18:

MA / MDes Visual Communication

PROJECT PROPOSAL FORM

Name: Helen – Marie Kelly

Stage: Diploma

Date & Draft Version: 17/12/2014 Draft 2

1. Working Title:  Images of the Human Hand: A Gesture to Body Confidence and Modesty

2. Rationale for the project proposed: Provide a concise, logical rationale for the project, 200 words.

My project title, Images of the Human Hand: A Gesture to body Confidence and Modesty is indicative of the tactile nature of my chosen medium, stitch and paint mixed with the social commentary that imagery of the human hand provides to create a faceless but very human element, which is desired to address issues of body confidence and modesty. During the concept module, I researched and explored images of the human hand and their potential to create complex social commentary on the human condition. As humans we are arguably the most aware of the self. Self-awareness to the extent we as humans experience it is so powerful, that disorders and issues involving our physical appearance are not uncommon. Although a wide range of practitioners have addressed this type of subject before in abundance, the issue is still a current day problem that to my mind has not been fully addressed in the best way. In the past, subjects such as this may have not been handled in such a way as to ensure that the intended audience understood the full variety of people who deal with such issues and it is possible that by creating specific characters or suggesting that only certain types of people are entitled to feel this way is detrimental to getting sufferers help. I intend to use the hand to create a human element in my imagery without provoking a specific judgment on who might suffer from self-awareness disorders. The power of the hand here will be the leading factor to comment on a specific but complex contemporary issue.

3. Audience: Describe the audience that the project is aimed at. Ask yourself, who will benefit from the process or outcome of the project proposed, whose needs will you meet, who are you communicating with, who are you seeking to persuade or inform?

My target audience is predominantly adult, the work is intended to be aimed at people who are less likely to be moved by pre existing imagery on subjects such as eating disorders, self consciousness and BDD, which is often aimed at the teenage community. These adults may have that someone close to them is suffering or may be suffering himself or herself, but may not realise that these types of issue could even possibly apply to their situation.

4. Theoretical Framework: Summarise the theoretical framework of your practice enquiry.

This project exists to communicate how the human hand in imagery has the power to create complex commentary on the human condition and provoke an empathetic response to issues of body confidence and modesty without being subjected to pre conceived ideas about who can feel this way.

My practice involves creating painted/ embroidered garments, which suggest how messages created by the positioning of the hands can be strengthened by placing the imagery in tandem with the body, without visually representing the body in such a way that it becomes an overpowering element. Flat imagery focuses on how the hand is capable of commentary alone.

5. Methodology: Set out the visual methodology you will employ in researching the question you have set yourself. Construct a time-based structure for your visual research and practice.

My methodology is designed to address design problems in an ordered fashion to gradually move the idea generation and image making process forward.

In my main sketchbook(s) I intend to research how the human hand can be created visually to make successful commentary on body confidence and self-awareness, whilst creating visual samples in my chosen medium of stitch and paint through experimentation, which are desired to answer specific design problems. For example I have produced a set of samples, which are desired to ascertain the best way to understand how images of the hand can remain the dominant factor when in tandem with the body. Sample sets are intended to gradually progress in quality with a view to making high quality final outcomes.

My blog is designed to research current contemporary practitioners, issues and fashions to aid my practice theme along with other such elements of interest relating to my chosen mediums. The blog will also include considerations for how I intend to take my practice further with a view to leaving university and considerations for the future of my career.

6. Deliverables: Please list the outcomes that you envisage resulting from the project.

A set of three garments and three flat outcomes designed to be exhibited.

7. Identify any exceptional practical requirements that the project will

necessitate: Please list anything beyond the usual provisions of the programme.

For degree show: 3 Mannequins

8. Bibliography: Reference all resources including images following the Harvard system.

Adler. K. and Pointon, M. (eds.) (1993) The Body Imaged: The human form and visual culture since the Renaissance. Cambridge: Cambridge University Press.

BBC News (2012). Fighting may have shaped the evolution of the human hand. [Online] BBC News. Available at: http://www.york.ac.uk/integrity/harvard_other_accordian.html [Accessed 4th November 2014]

Berman. P.G. (1993) Body and body polotic in Edvard Munch’s Bathing Men. In Adler, K and Pointon, M. (eds.) The Body Imaged: The human form and visual culture since the Renaissance. Cambridge: Cambridge University Press.

 Buzzi. I. Aphrodite of Knidos/ Cnidus, 1562 – 1634, Sculpture (rendition of Praxiteles), Italy

Catgrin, Female sexuality, not pubes, is why prudes took down this painting. [Online] BBS. Available at:

http://bbs.boingboing.net/t/female-sexuality-not-pubes-is-why-prudes-took-down-this-painting/36668/11  [Accessed 22^nd February 2015]

Gill, M. (1989) Image of the Body. New York: Doubleday Dell Publishing Inc.

Gombrich, E. H. (1993) Gombrich on the Renaissance, Volume 2: Symbolic images. 2^nd Ed. London: Phaidon Press Ltd.

Harter, J. (1985) Hands A Pictorial Archive from Nineteenth Century Sources. Ontario: Dover Publications.

Hatt, M. (1993) Muscles, Morals, Mind: the male body in Thomas Eatkins’ Salutat. In Adler, K and Pointon, M. (eds.) The Body Imaged: The human form and visual culture since the Renaissance. Cambridge: Cambridge University Press.

Hawkins. B.W. (1863) Frontispiece to Evidence as to Mans Place in Nature. In Huxley. T.H. Evidence as to a Mans Place in Nature. (1863). In The Zoological Relations of Man with the Lower Animals. (1861) 1^st Ed. (p67 – 84.) London: The Natural History Museum.

Jones. A.G. (1993) The ambivalence of male masquerade: Duchamp as Rrose S’elavy. In Adler, K. and Pointon, M. (eds.) The Body Imaged: The human form and visual culture since the Renaissance. Cambridge: Cambridge University Press.

London. B. (2014) ‘You can be beautiful even when you’ve had parts of your body removed’: Woman 35 who twice survived breast cancer, reveals her scars in inspirational naked shoot, Cosmopolitan Magazine. [Online] Availiable at:

http://www.dailymail.co.uk/femail/article-2547914/Two-time-breast-cancer-survivor-35-poses-naked-magazine-cover.html [Accessed, 22nd February 2015]

Manet. E. Olympia, 1863, Oil on Canvas, 130x190cm, Musee d’Orsay, Paris, France

Masters, M. (1997 – 2014) Does Petting a Cat Release Endorphins? [Online] The Nest. Last updated: 2014. Available at: http://pets.thenest.com/petting-cat-release-endorphins-10269.html [Accessed 9th November 2014]

Micallef. A. 21^st Century Love, 2005

Micallef. A. and Grant. V. Micallef-1, the Citizens of Fashion collection, 2013

Moore. G and von Minden. D.L. (eds.) (2010) The History of Fingerprints. [Online] Webservant. Last Updated: 15^th September2014. Available at: http://onin.com/fp/fphistory.html [Accessed 4th November 2014]

Nicol. K. (2012). Karen Nicol’s Gallery. [Online] Available at: http://www.karennicol.com/pages/gallery1.html [Accessed 4th November 2014]

Nicol.K. Untitled, 2012, Affordable art fair London

Prud’hon, P.P. (1800’s). Bust of Female Nude. [Painting] France.

Raynes. J. (2007) Figure Drawing & Anatomy for the Artist. 2^nd Ed. London: Bounty Books.

SIOM Educational videos. (2010). Range of Motion in the Hand and Wrist. [Video]. Available at: http://www.york.ac.uk/integrity/harvard_other_accordian.html  [Accessed 4^th November 2014]

Stillfried. G and van der Smagt. P. (2010) Movement Model of a Human Hand Based on Magnetic Resonance Imaging (MRI). Venice: ICABB.

Taylor. T. (1999) Muscles of the Hand and Wrist. [Online] Inner Body. Last Updated: 2014. Available at: http://www.innerbody.com/image_skel13/ligm27.html [Accessed 4th November 2014]

Webster. M. (2014) Visual Dictionary Online: Hand. [Online] Visual Dictionary Online. Last Updated: 2014. Available at: http://visual.merriam-webster.com/human-being/anatomy/skeleton/hand.php [Accessed 4th November 2014]

Young. R.W. (2003) Evolution of the Human Hand: The Role of Throwing and Clubbing. Journal of Anatomy. January 2003, 165 – 174.

Zavaglia. C. (N.d.) Gallery. [Online] Available at: http://www.caycezavaglia.com/embroideries/xmyy2yq10qw4svjtp41c9qdz1kfali [Accessed 4th November 2014]

Semester III: Ethics Form Draft 1

24/02/2015


Blog Entry 17:

Semester III: After the Concept Panel

24/02/2015


Blog Entry 16:

After the concept panel, I realised that as I had feared my linking the project to something as specific as BDD would restrict the outcome of my project. I was also pleased to realise that the garment idea to show hands in tandem with the body worked well. With this in mind I have decided to focus my project on how the hand can create complex commentary on the subject of modesty and body confidence.

Now that I have decided to create more garments as outcomes and I have specifically chosen the subject matter, I now have several design problems, which I need to address as I move forward:

- How can I keep the painted element in my work when I am making embroidered garments?

- What kind of fabric should I use? As some fabrics already have preconceptions about them and what they are used for - for example satin is perceived as either used for expensive underwear or occasion dress.

- Should I make the hands on the garments distinctly male or female or should they be ambiguous?

- What do I want to say with my work/ where do I stand on the subject I have chosen to address?

- How should I photograph/ present the garments once they are made?

Semester III: Possible campaign and questions for the concept panel

17/02/2015


Blog Entry 15:

After researching possible ways in which I can use my work to create a possible campaign about femininity and body image, I have chosen a specific subject, BDD (Body Dysmorphic Disorder). I am unsure at this point whether using such a specific topic will affect how strong the messages created by the human hand can be.

I have also researched the work of Antony Micallef, specifically an exhibit in New York city which was intended to raise awareness about human sex trafficking. This campaign particularly interested me due to the way in which the imagery retained uniformity, even though the images were not all the same in colour or materials used, but rather by style. This uniformity without everything having to be exactly the same has made me consider how I can create imagery with varying amounts of embroidery or paint to create a similar effect for my outcomes.

Semester III: Second tutorial

10/02/2015


Blog Entry 14:

During my second tutorial it became clear that my idea is currently still not solid enough, so I have decided that before the interim concept panel I am going to research how I can possibly link my subject to an existing campaign or similar to give my project direction, I am currently not sure about this idea and will do enough research so that I can use my concept panel to find out if this is the best way to lead my project.

Semester III: Current fashions and embroidered cardigans

07/02/2015


Blog entry 13:

In the last blog entry I have considered how I might find contemporary ways of displaying my final outcomes, but this is not the only aspect of my project that need to be considered in a new and contemporary way. As I am working in stitch, I feel that looking at current and popular ways in which embroidery is being used and the context in which embroidery and paint can be used.

Currently embroidered cardigans are very popular, this makes me consider how I can use my free machine embroidery and dressmaking skills to create hand made items, which can be sold in the future.

Current embroidered cardigans in fashion:

Jaw Breaker brand (front view)

Jaw Breaker brand (back view)

Hell Bunny brand

VooDoo Vixen brand

Semester III: Considering contemporary ways to show outcomes, Artisan State

06/02/2015


Blog entry 12:

At present I am still unsure how I will present my final outcomes, and at this stage I feel that many other peers in my group are more solidly aware of what their outcomes will be and how they will be presented.

In the module handbook, I have noticed that there is a strong suggestion toward understanding the most recent and contemporary forms of presenting and making art work, with this in mind I have been considering how my images might be presented in print in a new way.

Artisan state is a new company, who have recently become popular for their photo book products, which are designed to open and display the photograph on each page in the best way possible, by the centrefold being designed to sit flush (website below).

http://www.artisanstate.com
(Artisan State, 2015)

Artisan State flush centerfold photo book, 2015

At present I still feel that to only show my stitch painting images in print would loose the visual quality of the physical artwork. With the concept panel approaching I feel that I need to consider how I might present final outcomes. I intend to use the concept panel to get answers to some of the bigger issues I am currently facing, however this means I need to ensure I have researched each difficult area to a strong extent to consider my options.

Semester III: Exhibiting for the John Smedley Archive

06/02.2015



Blog Entry 11:


Since the presentation on 2nd February (outlined in blog entry 6), I have been in contact with the John Smedley Archive Curator, Jane and have been offered a place on the John Smedley Archive exhibition in July. Being as I finish this final semester in April, I will have enough time to create a piece of work especially for the exhibit, which I am of the hope will take me on my first step to getting recognition and experience exhibiting. Now that I am coming to the end of my four year university experience, I need to begin to make solid plans for the future of my art career.

I have agreed with Jane to use off cuts or faulty panels of fabric from Smedleys, which would otherwise be thrown away to create a rendition of the John Smedley logo, the Jay bird. I am now currently awaiting to receive panels, for the jay bird piece and also to use in my realisation project. Now that I have decided not to simply use calico during the project, I feel that it is a good opportunity to embroider using high quality knit fabric.

Semester III: Chevening

03/02/2015


Blog Entry 10:

After the presentation outlined in blog entry 6 I approached the archive curator, Jane and asked her more about specifically embroidery. Jane told me that there was very little to speak of at John Smedley, however she did mention a process known as chevening. Chevening is a form of embroidery, which was often done on male stockings as very small intricate designs. As I am studying gender for my project, I find it very interesting that every detail of the male clothing (especially between WWI andWWII) was designed with the most avid intricacy, even the stocking or sock, which would not usually be seen or closely examined, had chevening embroidery. Jane went on to inform me that chevening for Smedleys was sourced to outworkers, who unlike the knitters were always female.

Examples of Chevening:

Black woollen socks made for male children with chevening on the sloe of the foot

Hand embroidery, chevening (1860 -1960)

Semester III: Raymond Bridden Lace Maker

03/02/2015


Blog Entry 9:

Although I am unfortunately unable to find any imagery on Bridden's lace making, during the presentation detailed in blog entry 6, The archive curator Jane supplied examples of Bridden's work. Bridden was a lace maker for Smedley who used Jacquard machines to create delicate lace designs often involving nature. The examples provided at the presentation were intricately formed sycamore leaves. The way that the imagery made up an important part of the lace itself lead me to take into consideration how imagery and fabric can be combined in different ways. Last semester I mainly used calico on which to create my images, but now I am questioning wether my first choice in fabric is the best choice.

Example of jacquard machined lace

Moving forward with this in mind, I intend to consider different fabrics when embroidering, and find out how I can use free machine embroidery in different ways to create interesting imagery which best suits certain purposes.

Semester III: The Hand Made Market

03/02/2015


Blog entry 8:

At present with the rise of the internet and social media, those who create hand made items have the ability to advertise their unique objects. The handmade market has become very popular due to hand made often being thought of as attention to detail and one off, it appears to me that hand made or hand finished items are now often associated with luxury, due to the time and effort expended to create the items.

As researched in blog entry 6, John Smedley pride themselves on creating luxury products, which are often hand finished. The term handmade or hand finished brings to my mind that a product has a human touch, meaning that each item is cared about when being produced; I feel that my work should have this quality.

There are a number of disagreements on what exactly is considered handmade: Some feel that if pre - existing parts are combined or 'up cycled' to create something new that this has been done by hand and its therefore hand made. Others however believe that hand made refers to every aspect of an item having been made by hand (e.g. every link in a chain for a necklace rather than using a ready made chain).

Excerpt from Sara Tan's 2013 article on the popular online market Etsy and defining the hand made. (Available below)



“Let’s face it — you’d be hard pressed to find any item that is truly ‘handmade’,’” Wesner argues. “I sell jewelry that I make myself. This is considered ‘handmade’, right? My jewelry is primarily silver. I don’t mine the silver myself — there’s no silver mine in my Manhattan apartment basement. If I make multiples of a part, I don’t pour the molds myself — there’s no foundry in my apartment basement, either. I ship my designs in cardboard boxes that I buy online from a jewelry box supplier, and I am almost positive they are not handmade, and that the cardboard isn’t hand pressed. ‘Handmade’ is such a loosely defined term.” (Tan, 2013)

http://www.bustle.com/articles/6124-etsy-changes-their-policy-on-handmade-goods-to-allow-items-produced-by-manufacturing-partners


This makes me question whether or not my embroidery actually fits into the category of hand made or not, and how this might affect marketing of my work in the future.

Semester III: Foot Pedals, Tattooists and Learning from unexpected sources

03/02/2015


Blog Entry 7:

When embroidering for a long period of time, I have noticed that I have to take more time to stop in order to avoid getting cramp in my right leg as a result of the sewing machine pedal usage. This might only seem like a minor technicality, but I am aware of the time frame in which I need to work to get results fast this semester, so it is a serious issue in my mind.

incidentally I was talking about the pedal problem to my tattooist, Jack and he told me that tattooists often had the same problem, due to the way that the tattoo machines involve using a foot pedal in a similar way to the sewing machine. Jack suggested that I use my heel rather than the ball of my foot to avoid cramping. This technique works very well, and has saved me time when embroidering.

This small encounter has reminded me that sootiness to solve technical or visual issues with my work, it may be necessary to look in unexpected places for answers, as outside influences can be very helpful.

Semester III: John Smedley

03/02/2015


Blog Entry 6:


Monday the 2nd of February, I attended a presentation intended for the second year students. The presentation was held by the John Smedley Archive Curator, who was there to speak to the students about the company and a project affiliated with the Derwent Wise Project. Although the presentation was not tailored to suit the MA Realisation project, I was able to gleen some interesting information which could possibly inform my practice.

John Smedley is a family based organisation which will soon be celebrating its 225th anniversary by celebrating the Smedley archive/ museum collection. Presently the company pride themselves on creating fins gauge, high quality knitted garments.

During the presentation I found out a number of interesting facts, which I feel are important for me to consider when researching for my project:

Firstly the class was presented with a replica of a knitted long john and vest underwear set, which was created from examining the original underwear worn by an expedition to reach the summit of Mt Everest in 1924. This piqued my interest along with a number of items in the museum collection, which have changed in both value and quality due to time. Not unlike many works of art from the past, the items which were once new and marked at a certain price have become worth more over a long period of time even though they have possibly been diminished in quality. As time changes the underwear intended to keep a person warm during a mountain climb, has become of interest to people that it might not have at the time concerned, similarly artwork can possibly be adopted by audiences which were not originally the target audience, this is something that I feel all artists must consider when creating work.

Another interesting factor was that the curator mentioned when commenting on a photograph of the group of men who intended to be involved with the climb, that one of the men was wearing a garment which contained zips and how the zip was relatively new technology of the time. This reminds me that new ground can be something very simple. As masters students we are encouraged to break new ground and somewhat search for the avant guarde in our work, so remembering that many things taken for granted in current day life were once new creations.

Whilst explaining the trademark Jay bird used as the Smedley's logo, the curator provided some images of the garment stamps that were used to authenticate a John Smedley garment. These stamps were in blue in and often found on either the waist of hip of the garment. This way of making the clothing as a form of authentication inspires me to consider how in the future if I choose to make my own garments to sell, I can ensure that my customers know that the garments are made by me. The garment stamp and its progression to logo's which are now often found on Smedley polo or sport shirts, also gives me an insight into how marking garments has changed over time and how I am making fabric with imagery myself. I feel that it would be good for me to research how clothes are currently marked with imagery and design to find out what is new or currently being done, and how I may or may not be doing something new or different.

During the presentation the shift in technology was also mentioned: the knitting for Smedleys was originally done by hand with the use of framework knitting machines, which allowed the garments to be knitted faster than simply by hand, now some of the machines although operated by trained professionals are computer aided. This makes me question where hand embroidery and many other hand rendered forms of art are necessary in a modern world. The curator did however mention that many of the garments at John Smedley are finished by hand in order to give that final flourish for luxury. Garments by John Smedley are sold often between £120 - £250 retail price, this is quite a high price dance which is representative of the high quality. With this information it is possibly to consider that my audience, if I choose to make garments, would be a group that would pay for luxury garments as opposed to mass production, one off or hand made items are presently popular, this is something I will look at in more detail.

Another interesting fact about the John Smedley organisation is that there are people employed to ensure that the construction of the garments is as efficient as possible. This is done by calculating how long it should take to create a certain item or garment panel, these are known as standard minutes. Although I do not work to this kind of regulation, because of all the embroidery I have done since the beginning of the Concept module, I do have a good idea of how long something will take me to embroider provided that there are not unforeseen issues. As I am expected to create outcomes for a deadline this semester allowing myself the correct amount of time will be vital.

Whilst listening to the presentation, I became aware that it is likely that each small production company dedicated to creating high quality garments will all have their own style or way of working. When attempting to stand out from the competition it is important to have a sense of self and personal voice.

I was also interested to find out that many of the knitters before and during WWI were men. Although in present western society many people seem to be of the opinion that sewing or knitting is a female trade, there is proof that this is and has not been the case. As I am currently looking at gender in tandem with the hand this information could be something I could use.

Toward the end of the presentation I found out that the John Smedley company have collaborated with a number of designers and companies in order to create new or cutting edge designs. Compaines such are Ralph Lauren and Paul Smith, as well as designers such as Vivienne Westwood and Margret Howell. By collaborating the curator explained how the company was able to move forward. It might by that in the future if I decide to carry on embroidering garments, I may also need to collaborate with people such as clothing retailers to move forward.

Finally after the presentation I was able to talk to the archive curator about possibly obtaining some offcuts of the knitwear y John Smedley on which to practice my embroidery with the hope of diversifying the materials on which I can embroider. I have since emailed the curator to find out more. I feel that it is important to work with outside sources in order to move my practice forward and learn more about the business I may choose to work within in the future.

The next few blog entries (excluding blog entry 7) will research more deeply into aspects which this presentation has inspired.

Semester III: Garments and Suggesting the Body Without Drawing

30/01/2015


Blog Entry 5:

I have now completed my Fig.1 Mock 8 garment, a dress that has been embroidered with images of the hands in certain positions on the garment in order to suggest that the images of the hand are in tandem with the body. The dress is also a tool which is desired to suggest femininity due to pre-existing connotations surrounding it (see blog entry 2). The covering position is supposed to create the idea that the hands can provide modesty and suggest that the dress is simply an extension of this hand position.

Whilst creating this sample to ensure that embroidering a panel of a garment before it is stitched together would provide an easier solution to embroidering a ready made garment and to ensure that copyright would not be an issue, which it could possibly be if the garment had been made by someone else; I also decided to try combining two forms of stitch in relief, which I had created samples for on page 45 of my sketchbook 1. The two forms of stitch in relief has previously been done separately, however I wanted to understand if they could work together and thought that being as I was making this garment to clear up other issues, I would embroider the front panel in this way.

Now that I am coming to the end of my masters course I have decided to take more initiative in areas of my practice and not to fear finding out where I am able to work. I decided to ask the owner of Brigdens Menswear Ltd. if I could utilise his photographic studio and camera for my project to which he agreed. I found a model and photographed the Fig.1 Mock 8 garment in a better environment than I would usually be able.

Photoshopped final photographs from the Brigdens studio shoot:

Although my garment is far from perfect, it does the desired job of creating a surface on which to embroider that suggests that the embroidered imagery is in tandem with the body.

Semester III: First Tutorial

26/01/2014


Blog Entry 4:

During my first tutorial concern was expressed that the aspects I have researched so far have become a little too much about making the garment rather than the embroidery, I completely agree with this feedback, and am now aware that I need to focus on the imagery. I feel that the garment, should be viewed as simply another canvas which creates an association to the human body, which allows the placing of the hands to become more significant in meaning, as they become in tandem with the body. Now that I have done sufficient research into making the garment, I feel it is time to focus on the imagery and if I should wish to use the garment as a tool to suggest the body, I am capable of doing this.

Semester III: The Fashion Illustration

21/01/2015


Blog Entry 3:


Although fashion illustration is a highly unlikely option for my work, at the beginning of this module Tracy advised us to explore every avenue which our project might lead. Currently pages 11 - 27 in my main sketchbook research how it might be possible to create images of the human hand in tandem with the body without having to actually draw the body, through creating a garment to be worn on the body. Each stage of this development holds its own merits to suggesting that the body might be there without it actually having to be, this makes me wonder if there is a way that might create the same suggestion as an embroidered garment about the body, without taking as much time or effort to create a full garment. Fashion illustration is an illustrative format which might allow me to suggest what images of the hand on a garment might look like without actually making the full item. I have my reservations about how well this will work, as it will involve possibly not using any embroidery, however because it is only the first week of my project I feel I can dedicate a small portion of time into finding out the possible scope.

Fashion Illustrators:

Jessica Durrant:

Jessica Durrant, 2012, Fashion Illustration

Jessica Durrant, 2012, Fashion Illustration

Jessica Durrant, 2012, Fashion Illustration

Many of Durrant's 2012 fashion illustrations focus mainly on the face, rather than the body which depicts the garment in detail. This is interesting as it breaks the usual convention of mannequin or stiff poses depicting the full body, designed to draw attention to the garment rather than the subject wearing it. This form of fashion illustration could possibly be used to create strong likeness to famous models, or to show makeup designs rather than clothing. This portrait style of illustration is arguably more illustrative as it it is less confirmative to the subject's positioning. This could be good to draw attention to aspects such as collars or neck lines.


Sandra Suy (Barcelona):

Similar to the work of Durrant, Suy uses simple outline and subtle tone to ensure that her figures are far less imposing than the garments depicted. This is very common in fashion illustration as the garments need to retain the attention of an audience.

Fashion illustration seems to be something to accompany a garment ( the garment being the main item of interest). I am currently unsure if I want my work to only be designed to be an extra accompaniment to another piece of art.