STATE OF THE ART¶

My inspirations come from different media: film, photography, music, performance… I like having influences that go beyond the field of textile design to be able to nourish my work.

Ann Veronica Janssens, A visual artist, she creates installations with artificial lights and mists that disrupt the perception of space.

Bart Hess, I think I don't need to present him anymore

Hart Leshkina, A photographer

Anrealage, A yound japanese brand, What interests me is the transition from one material to another, it is a technical feat and gives a magical aspect to the garment.

Jacquemus, As textile designer I have often been criticized for my lack of color in my work, I like this show because it shows that the simplicity in the use of color can be very beautiful and highlight the work of material

To see more

Kimono Moriguichi, Raised to the rank of "Living National Treasure", Kunihiko Moriguchi perpetuates the tradition of dyeing fabrics called yûzen that he has deeply renewed. Its innovative kimonos are adorned with often geometric patterns. They are the product of his knowledge of European graphic arts which he studied in Paris and of his apprenticeship in the studio of his father, himself an eminent master of yûzen.

Marco Raugei, An artist of the art brut movement, who suffered from psychiatric disorders and who had found drawing as a means of healing.

Cabinet of natural curiosities

Dolorès Gossye, A belgium textile designer who creates a fabric in fish skin.

Laure Albin Guillot, A photographer

DISCOVERIES OF THE WEEK¶

Open source work and tutorials¶

In the world of textile design and patterns, copyright issues are essential. We are taught to protect as much as possible our designs as well as our work processes because it is recognized that in the world of textiles (especially fast fashion) copies are frequent. Personally, I find that protecting my work from possible copies is a source of stress and is anxiety-provoking because it leads us to be wary of everyone constantly. Working in open source can release this feeling and I look forward to working in this way during my Fabricademy training by sharing my discoveries and advances.

Archiving and documentation¶

For my final project, which will be to set up my textile design studio (I hope), I will need a lot of organization to do my own archiving. It is a methodology that it is necessary to impose on oneself when working in creation. I realized this during my studies in fine arts because we happen to have ideas or find manufacturing techniques but it is often difficult to remember how we got there several months later. But also, if one day I have to hire or train people, it will be necessary for them to have access to this archive. In the Fabricademy training we have to do our documentation every week, which is quite regular, I think it will be very formative for me for my future. It is also a very good means of communication between trainees because it is very pleasant to see the progress of other people's projects. Feeding on references is also very important, as I mentioned above with my personal references, I am inspired by a multiplicity of media that are not necessarily related to textiles.

Gitlab¶

Having fear about computer programming, when I saw that we had to create a web page I was very scared. I think it will take a little while to master this but markdown seems within everyone's reach. I am not very comfortable with computers, to be honest I did not know how to use google docs, google drive or google meet at the beginning of the week and I feel that these will be very practical tools for me and that I had to confront this. That's a lot of information in a week but I can't wait to master all of these tools to get started in creating. Unfortunately I lost a good part of what I had done this weekend because having a commit problem I continued to work on Gitlab. I have to write my text on a separate document and not use Gitlab as a draft. It will be a good lesson for me, commit as often as possible!

FabLabs¶

I have always known the existence of the FabLabs, I knew there were machines and people experimenting inside but I didn't really know for what purpose. I am pleasantly surprised to find that all these very creative things are happening there and I sincerely believe that it is about the future of textiles. It is essential for me to rethink textile manufacturing through ecology. We can no longer manufacture and consume textiles as we do today, it is an emergency. With everything we know how to do, like kombucha leather, I wonder why I don't see more eco-friendly products on the textile market. We must stimulate manufacturers to change their working methods.

MY FINAL PROJECT WITH FABRICADEMY¶

I like to develop the printing technique in serigraphy based natural dry extracts. In an eco-responsible approach, I would also like to research a textile glue that is as ecological as possible but which is suitable for washing in order to be able to offer my know-how in ready-to-wear and luxury goods. Ideally I loved creating a machine that could crush any material to have a powder that I could then use as a pigment. Like Hors Studio which creates mussel shell powder. This would allow me to master an additional manufacturing step in my work process and would open up the field of possibilities. I don't have a particular affinity with 3D modeling or technology, but I still can't wait to learn the basics. I am not closed to discoveries and I let myself drift throughout the training. I know that I will discover a lot of things that I am not yet aware of and which will certainly make my project evolve.