I started this chapter with a piece of crushed velvet that I'd used for the printing exercise and explored 4 different automatic patterns on my sewing machine that I thought might be relevant to some of the shapes I had made in the previous chapters. I thought these would make good braids when cut apart.
Next I looked at ways of making braids with cords, strips of fabric and paper and then layering them.
The second braid from the bottom incorporates a stitched thread/wool braid.
These are all examples of wrapped braids using the velvet braids made in image 1 and 2 stitched thread braids on the top and lower samples
These braids were all stitched using sheer fabric on a water soluble base. They were then stitched back together to make another fabric. I like this sample the best of the set as it has quite a lot of movement and relates well to the previous chapters but has also moved away from the previous inspiration.
These braids were all constructed using a frame. The 3rd one in is constructed from the hand made paper that I printed onto in a previous chapter. It's really strong, moulds well and stitches easily.
These are braids made using water soluble media. The second one from the bottom is metallic embriodery thread and the scale of it would be perfect to use for Mary's clothing, in my second assessment piece.
The last collection is for use in the next chapter for threading and interweaving braids.
I found this chapter quite frustrating, but I'm not sure why. I think it may have something to do with at last finding my way as a textile artist and knowing what area I don't feel comfortable in. I tried to make some sense of this by serfing various web sites and stumbled on the Chelsea degree show and amongst many others this charming collection by Florence Spurling, and then the penny dropped. Her work resonated completely with what I've been looking at here.
And I think the key to it's success is that she combines fun and lively experimental design with elegance and wearability. I trained in textile print design and took the fashion option. I always loved the knit module but at the time I couldn't design in the abstract, I needed the security of an image to start me off, which is maybe why this chapter has made me uncomfortable.
I've also realised how much I've missed the fashion element in the last decade of my work so maybe I need to think about this too.
I've included this evaluation here rather than at the ned of the module as I think it's important for me to do this when it's fresh in my mind.