Garment LookBook Research

Having made up several garments I was getting a very good response from them, more than I would have expected. Automatically forcing me into shooting my garments in order to present them on a more professional scale, Diversifying into this angle has opened my eyes to the potential of what I could be doing with my print designs,

Creating a Lookbook for garments was never an output I had considered when compiling my learning agreement. It is merely something that made sense and I wanted to compile. I am researching for a future outcome and have become considerably more excited about since starting, forming basic base spreads is further then what I would have expected to take it. I have used three models to shoot it in different circumstances. Over easter I shot the original bee skirt, down in west sussex in Bosham Hoe, secondly I shot the bee skirt with co ordinaing top and styled with an h and m trend cropped jumper,  h and m wedges with Zara glasess for the whole outfit to take off.  When deciding on my shoots I particularly wanted alternative models, I want this to be styled for a broad market, Using four very diverse looks has created an instant impact from the first shots I have selected to edit. I also styled a second shoot by taking it back to its original inspiration of 'Fletcher Moss' this was more for me to see my inspiration in primary form and then see it as a final piece. The shots have turned out very raw and natural, I needed to enter a photography studio in order to take a few head shots and close up images that I could not get on the day because it started to rain. I collaborated with Lara Rhodes
@humanoidtrend on instagram as my photographer and will acknowledge her in the final print of the book. Her photography style is minimal and  sophisticated, the balance of each photo has depicted the models and the garments at their best.
Even though I am primarily a print designer for interiors, it has been a great response from people my own age because its far more relatable at this stage of our lives.

After the unit hand in and befoer degree show I am collaborating with Susanna Kala a Stylist student within my tutorial, giving my initial images to her as a base, She is going to help me compile a final professional lookbook for the show, never expecting to have completed these garments I did not allocate time during the unit to create a second book fully.

BEHIND THE SCENES IMAGERY:

BRANDING

During Easter I particularly focused on the branding side to this unit, I wanted my logo to be my handwriting, using my wacom was the easiest way to translate that across. The decision process of my final logo was lengthy as ultimately it was going to be present throughout. Finally I came to the conclusion Nokes worked best hand written and using Khmer type throughout was clear and professional.

When ordering my postcards and business cards it was fairly stressfree, using Zazzle the online maker was a very clear process to run through. However receiving the business cards was  disappointing, again using a third party and relying on another company never goes to plan and thats another learning curve for the outside world. The outside of the cards wasnt printed to the edge so my print wasn't centered, which online it showed that it was. They gave me my money back and offered to print them again which is good, however timewise it has set me back. In regards to outsourcing companies I feel I am going to have these implications when trying to source digital print companies outside of the university.

Having gone to Alex Russels' talk on online portfolios I began to set up my own website

http://www.ournokes.squarespace.com/

Buying the domain name www.ournokes.com will go live within the next week, this is an on going project I am looking to finish for degree show.
I have begun watermarking my prints and sharing them on pinterest, they have been repinned several times by people which is exciting and boosts confidence from an outside perspective, setting me up for leaving university. Pinterets instantly gets my name prints and brand recognised to a large audience.

http://www.pinterest.com/beccienokes/rebecca-nokes-designs-alpine/

Alpine interiors Lookbook. Final Decisions. Repographics.

Romo Black Editions Look book was a considerable influence on me when deciding on options for my final look. There use of spacial awareness in the book is particularly aesthetically pleasing, using particular weights of photo to each side allows the eye to receive the information in a pleasing way.

When completing my market research over easter regarding my lookbook, I noticed in Chelsea Harbour alot of the same styles, there was a continual repetition to how multiple leading companies were displaying there new collections. Digital print in production is a very recent medium for interior decoration. Therefore I want my look book to directly reflect the age of the medium. I want it to have a younger, smarter and modern feel to it. Choosing to add in different weights of printing material, such as my asatate inserts I feel adds depth to my prints, making a considerable difference within the book. However this decision did not come without implications, using Repographics as a third party is risky, it was a learning curve for me within the outside world, It did not go to plan within my final bound book as they bound it the opposite way. The content is all there and I am handing in two copies a copy bound incorrectly with a post it explaining, and a copy of the spreads in order of how I perceived them, clipped in the correct manner.

My typography and branding is all decisions made when deciding on my branding output for this unit and is reflected within this final Lookbook.

Interior Look Book Inspiration and Stlying.

Creating a Look book for my previous digital collection Alpine is extremely import in order to show professionalism and styling to my work. Its an opportunity to pull everything together, edit and cut down the best bits of the collection to showcase. Its equally important to have a direct visual source of how I see them as prints being reproduced. It gives an instant insight into what each print individually can give to a room. By me personally style directing my book its a direct insight to industry as to how I perceived my collection being seen, the decision making process has been very different, more taxing, I
am naturally out of my comfort zone as creating an interior lookbook required a lot of research. Pinterest has been particularly insightful in terms of instantly seeing variation between styles, I am not trained as an art director but directing this look book is extremely important to channel my designs into the correct audience.

Understandably it is important to take my own photos for a Look book, therefore I organised two photoshoots, one at my old school which is a very grand building and a good opportunity for me to take some interior photos of long drops for no charge. Spending the morning at Woldingham was helpful from a contact perspective but imagery wise I personally felt it was unsuccessful. They also offered  me the opportunity to send them my work that I produced from the imagery and they would display it within their termly magazine, however the rooms would not reflect how i want my prints to be visualised. They were directly designed for a chalet, my final visualisations were within a chalet. Without access to one to produce my own my Look book will never be a direct Aesthetic as to how I imagined.

Woldingham reception rooms

Implication wise I understand it is very important to  I have added in alternative options, of slightly lower end to broaden the target market I am trying to hit. However I want my prints to be shown exactly how I envisaged they would be during the design process. I went on another photoshoot asking my way into Hotels around Manchester, visiting The Lowry, The Hilton, The Radisson and Selfridges and home stores to get some idealistic imagery for displacing, Having in mind that a modern theme would be far more pleasing to the eye in regards to the final images. When displacing the images I wasn't pleased with the final results, although better then

The Lowry Hotel Manchester 

Having discussed my implications with finding correct imagery with my tutor, we decided that creating a Lookbook using my successful visualisations from the last unit, and a few of the successful displacements from the most recent shoot, together it could form the ideal. Giving credit obviously to the original photographers from the Chalets.

Transferring prints, co ordinating collection. O.U.R.NOKES

The decision to transfer my prints onto garments I never foresaw into this unit. As I created the first Bee print and got it printed over easter I began to show my work to friends and peers from home and it was apparent that that particular print should be made into a garment. I have been able to make garments since GCSE it was just something I had never pursued at university as interiors is my specialism, however adding this side to my prints creates an instant visual and association for industry. It plants my idea directly to the body, aesthetically creating a final result. I had allocated time to make one co ordinating outfit. Inspired from this season ASOS prints and co ordinating your clothes. In order to just visually plant an idea in industries minds that my prints are transferrable, and also show diversity I hold as a designer.
Setting up an instagram account @O.U.R.NOKES has given me the opportunity to touch the outside world with my designs. Trending via using hashtags allows your imagery to be instantly planted into certain criteria such as #design #digitalprint #print. Getting an instant outside audience has pushed me to pursue the idea of transferring my prints onto several co ordinating outfits, and jumpers. Receiving an instant great response and several orders it has spurred me on to pushing this element of the unit. People have been requesting specific items such as scrunchies, head wear, clutch bags. Which I have made to expand my market.

http://instagram.com/o.u.r.nokes

From my market research in regards to co ordinating yourself with your wallpaper, it is a playful idea thats occurring a lot within the current market. I am interested in exploring this area with my final visualisations and forward coming photoshoots.

Concept Forming. Imagery Sourcing. Palette Production.

Every print from every collection has my recurring style, naturally. As a designer I do get directly inspired from my surroundings and consequently my mood. At the end of practice unit my colour palette for this progressional collection was based on WGSN forecast of 'BLOODLINES'

On reflection from seeing the previous graduates alternative portfolios, It is important I show a range throughout my work.  My previous collections were autumnally themed, especially the lead collection 'Alpine' was tonally specific to AW trend. I thought I would play with my comfort zone for spring summer, the brighter tonal variations of red and orange I have visually never enjoyed, but working with an intenser, brighter colour palette I think is important to my concept for this unit. It is my last opportunity to enjoy exploring my decision making process, and explore and test myself thoroughly before being set briefs in the outside world. Working with a totally opposite colour palette makes my prints transferrable into a broader market, my last collections Alpine and Lucent Voiles in particular were for a higher end market. This group eventually will have a more fun yet affordable and high street feel to it. 

It has always been an interest to me to play with aesthetically pleasing and stereotypical imagery. Whilst collecting my sources, drawing and getting responses from fellow peers I began to realise to the outside eye I was drawing, cute animals or fluffy bees or wasps. In Actual fact the insects I was drawing were dead. It was funny to acknowledge the response I was getting from peers on essentially dead specimens. Seemingly uninterested in the reason of how it died or why. If it was a human it would have been a very different reaction.

Personal Image

Working closely with my photos and inspiration I used Pinterest to draw on further imagery. I came across Steve Poxton a wallpaper designer, he similarly plays with this idea of dead flies his work is more specific in the way he has worked with his watercolour imagery, the positioning, realistic scale and forms of the specimens directly reflect their state. In an obvious matter. However using these specimens is going against the grain of what is accepted within society. I enjoy the idea of placing something such as dead flies in a Kitchen, juxtaposing the ideal visual.

Steve Poxton

Pinterest Board Screen Shot

Just Kids Wallpaper tm. 

Looking at the imagery I was creating, In order to build on the collection I needed to break it up with different woodland creatures and equally something looser, holding bigger bolder marks. I started to play with the idea of how the specimens died? Was it a natural cause or was it purposeful. Using my fingerprint and red watercolour, this mark making was key in broadening this collection. From an outside perspective it adds light to the group, but with this underlying theme not many withh understand. Responding from Luli Sanchez's mark making skills (see boards) I used watercolour in a similar respect to how she has worked, adding fluidity, painterly qualities and depth to the group.

Earthed Woodland Development Process. Unit X BEGINS.

Finalising the progressional collection 'Earthed Woodland' from the end of the last unit is about exploring my theme to a more advanced level . I want this collection to highlight the best elements in which I work from the results of my previous unit. I am looking for my final results to be an amalgamation of the highest qualities of my work. This collection is about exploring myself as a designer, drawing for me will always be my primary decision making process. From my market research both interiors based and fashion, I feel within the digital print industry there is a lack of first hand mark making. Something that I have a passion for, theres a natural fluidity that pen and paper create that I don't feel can be achieved using a purely digital process. Digital print is naturally used to explore techniques that are not available with hand print, however the qualities of first hand drawing can equally be transmitted in this way, it allows for graphic qualities to be directly reproduced to a very similar standard they were drawn at.
When leaving Earthed Woodland I expected my development process to go very differently, more along the same journey and output as my Practice collections. During the time I was creating my learning agreement we had the opportunity to view past students portfolios, Abigail Hutton's print portfolio was particularly insightful. Seeing an instant outside perspective and speaking to her about her last year has helped the decision process for me on how I was to finalise this unit and what I want to leave Manchester School of Art with. She advised that diversifying your portfolio is very important, it shows you are capable of multiple styles and increases your handwriting skills for potential employers. Having felt very pleased with my final outcomes from my previous unit I did feel it was time to diversify my collection. Choosing to take the same concept and using similar inspiration to Practice, I have incorporated a playful side to my prints, it has expanded my market, ideally making me more adaptable as a designer. Realising this it gave me the option of diversifying my output range. This collection is revealing part of my personality, each drawing is individual, its quirky and outrageous and fun. The initial drawings are made up of mice, flies, bees, wasps and feathers. All directly related to Fletcher Moss environment, but in a far more stereotypical way. This required far more drawing as my thoughts were forming, and as I was building the collection with a potentially different market level.

Raw Depiction Evaluation

This Unit has really stretched me, I can see a dramatic change in the designer I was in september, and how I would approach my work now. Understanding the market and context to your work is key, I understood this before but designing with that knowledge continually over this unit is what makes your work fit perfectly into your desired context. My drawing development was prolific over the course of the unit, I feel I throughly experimented with my choice of papers, materials and processes in response to my theme. The drawing stage for me carried on into the final production weeks, it remained important to me to add to my designs if original drawn imagery was needed. I have explored as much as was needed within my design process when regarding the resources the university has offered me, I have wanted to utilise my time and maximise learning. Its an opportunity that I am only going to be a part of now. I have attended as many digital workshops that are relevant to to my design progress within photoshop, it has been a key development stage for me, in particular with the use of the displacement tool. I have utilised the In Design workshops  as well with a future intention of using these skills in Unit X to create a Look book to show my designs in a professional context when leaving.  My market research has been so key within the development stages, clarifying to me continually the direction I wanted my designs to be headed in, and what companies I can see my designs along side.

Naturally over the last few weeks, the decision process has been faster due to the added pressure, and the design presentation changes quickly. When first compiling the collections, choosing the names for each group was only a quick decision of clarification for me. Having given it some thought to an outward perspective, I have renamed each group at this stage, 'Chalet' has been renamed to 'Alpine', 'Lucent Voiles' is 'Lucent Matter' and 'Fluid Muslin' is 'Unequivocal Thread'. 'Personally I feel these names reflect the group of prints at a more professional level, needed for thought for future intentions within unit X. I feel I have chosen to finalise the broadest of collections, I want to show my diversity as a designer and having a broad vision of designs targeting a slightly different clientele has been key. I have targeted each collection at different audiences, with the 'Alpine' collection being the highest price range, and 'Unequivocal Thread' as a lower end, yet not losing sophistication.
'Alpine' I feel is the strongest collection, I am thoroughly pleased withe final designs, however there is one wallpaper design that since it has been large format printed I have noticed a few issues when it was put into repeat, this is something I plan to rectify within unit X. Similarly with 'Lucent Matter' one of the large format wallpapers, since being printed I feel lacks in imagery and this again is progressional for finalising within unit X. Looking back on reflection for 'Unequivocal Threads', producing more fabric tests when entering the print room, would of relaxed me within the final design stages. However I am looking to further this within finalisation within Unit X, and look into a broader variation of fabric weights, to build the collection. I am determined that both 'Unequivocal Threads' and 'Lucent Matter' will be at the strength that 'Alpine' is in my eyes.
Given the nature of some of the original artworks, they have deteriorated over the course of the unit, the use of bleach in particular has changed from the original scans of my designs. This is definitely not a bad development in my eyes, if anything it gives my final print designs an added edge, the artworks have developed on their own, but the final prints were manipulated and developed from the first scan. Therefore, forever present within my final digital designs.

At this stage I have left each individual design unnamed, primarily so that for unit X and final output I can think about them each individually as final designs and name them at the end. Looking now at the final collections as groups, I am really pleased with the results. I have a few ideas for other prints that are at a different development stage and I have decided not to include them at this stage. However, in Unit X the collections may be manipulated slightly. I am considering strongly for 'Lucent Matter' outsourcing a digital printer who will print on an alternative fabric that the university resources can not produce. Unit X is an exciting prospect, I want the opportunity to shoot and create my own Look-book for my designs, thinking strongly about situational places. The idea to start to brand and promote yourself is exciting and something I have already been thinking about,  I have the future intention of working for a fabric and wallpaper company, hopefully a part of a team of designers. Having had the digital work printed I have been receiving feedback from peers, it has become apparent to me that one print is particularly popular. It is interesting as it was a print I wasn't sure about and was considering withdrawing from the group. From this response I am considering producing a fashion collection directly based from this print and as an extension from it, and again for an alterior context and output.
Having watched these three final collections come together over the last few weeks has been overwhelming, I have enjoyed thoroughly the journey and production, theres a tremendous amount of satisfaction of finalising something that I am genuinely proud of and believe in.

Alterior Context

Following the meeting with Asos sourcing director and the Ex MP for Rochdale, and their reaction to my prints, it was discussed with my tutor Julie, the idea and need of displacing some of my more malleable designs to a fashion context. It poses the idea of a very diverse collection, having already visualised each collection within the context I have designed them for. This just allows the viewer an alternative option and vision for my group. 

'Chalet' and 'Lucent Voiles' Digital Output Print Collection Progression

It is quite difficult to document your progression when creating digital prints, as opposed to the stages you reach when working in the print room.  Its something you don't continually print out, each decision so screen shoting my laptop, when decision making and visualising my prints together has been a process of elimination and progression for compiling both collections.

I have produced 21, 15cm square fabric tests from the digital printers in order to fabric test and see how my prints sit to the fabrics. Using three fabric choices,  Silk Habitai, Crepe de Chine and Cotton Voile it has been key to my final collection looking exactly how I envisaged. Regarding the 'Chalet' collection the print colours and weight of the material sits perfectly on the Crepe de Chine, I feel it shows the prints off to the best they can be. There were a couple of prints that the colouring has been slightly darker then expected, so I have minimally increased the exposure on the final prints to adapt to the printing outcomes. The Cotton Voile was only sampled to see how my collection 'Lucent Voiles' would sit to this fabric, ideally for the Voile collection I would of outsourced a more translucent voile, similar to the Voiles from Mark Alexanders collection 'Haven 1', this is something I am looking into producing, outsourcing and perfecting for Unit X. However the Cotton Voile did work, but I don't feel it reflected the delicacy I wanted the final designs to breath. For final presentation of the Lucent Voile collection I have chosen to print half the collection on the Cotton Voile but half using Silk Georgette to instigate a plunge of subtlety to the group, and allow the possibility of layering the designs with different weights of fabric. 

I am in the process of deciding how to present my final design ideas. Regarding the nature of the context, several prints are larger then A3, from a cost perspective I am printing a section of each design  to scale on fabric, A3 size. Choosing carefully the best variation of imagery and colour within the print. There will be a full version of the print on A3 paper so the viewer can gage the full design, on a smaller scale. 

Live Project: 'The Colorfield' Work Placement.

I applied for 'The Colorfield' at the end of Unit X last year in order to get an insight into the Industry of Print Design. Having previously had experience working at Oxted Interiors, it gave me a small insight into the Interior industry, but I wanted to specifically see  a fashion side of Print.  How diverse it could be, and how malleable I would need to be when entering Industry after University. Previously in Level 5, I completed a work placement at 'Keeler Gordon', they specialise in exactly the same way, targeting the same market. However, 'The Colorfield' is specifically digital print, where as Keeler Gordon has a wet print studio designers. The studio environment was naturally bright, and untarnished. It was obvious as a company they consider it high importance to spend money on studio space, keeping their in house designers in a clean and comfortable space. Having recently just moved studios across London, and they are now based in the hub of London Bridge.  Their correspondence with me was very professional from the beginning, the studio manager was consistent with contact and I felt immediately at ease, prepared and professional for when I arrived. It was a more mature environment then my previous work experience, they come across strong incredibly productive. On the first day i was at an advantage of it being the bank holiday so they were a day behind, not many menial jobs for me to do but just help with the finalising and packing up the delivered prints for shipping to New York (there sales office base) that afternoon. Thrown immediately in at the deep end, the buzz was great.  During the two weeks, they had a designer that was away on holiday, leaving slightly less work for me to get on with. Luckily during my placement the owner of the company Adam Read who is usually based in New York, asked to see some of my own work. Commenting saying I had a 'strong hand' I was given an added opportunity to create a small collection of basic designs while the designers didn't need my help. The development board of my work is above. Unfortunately not being able to take any of the art work with me I did manage to take a few photos just for my own records. Once I left the company, I had more correspondence with the studio manager who informed me they had sent some of my prints to their printers as a test to show other interns. The difference in how they produce prints was insightful, obviously on continuous deadlines theres a need to cut corners in order to make increased profits, minimal art work is completed in order to scan in and manipulate on screen. When work in a University studio environment we are obviously encouraged to cover all bases of assessment objectives, in order to gain your credits. I found myself when working on photoshop in their environment shortcutting and working from very minimalistic imagery. Directing my work to trend forecasts, and working from their most recent compiled cat walk shows imagery. It was a leap for me experience wise and plunged me into a professional side of compiling a small collection.

Being present within the studio environment was so key for my career decision process. Feeling slightly underwhelmed by Keeler Gordon's placement I did approach my two weeks at 'The Colorfield' with a little trepidation, however I had a much more enlightening experience and introduction to the industry, then previously. It gave me the chance to soak up the print for womenswear environment and the speed at which these designers perform at. I could immediately acknowledge the production of designs and if I am honest the disregard for previous work, this continuing need to be on trend. Clients of 'The Colorfield' will remember prints that have been shown in each collection, if they see a print twice there is a definitive loss of faith in output of the company. Hence the need for 8-12 prints being produced each week fresh by each in house designer. 'The Colorfield' also has a team of freelance designers that specifically come in to use the facilities on shipping day but otherwise are based at home. The company did recommend to me not to consider freelancing until you have worked in house to gain a feel for how the company works. Understanding this side of industry has been a key deciding point, whilst at 'The Colorfield' I spoke to Mirren a designer, about my work usually being Interior directed. She mentioned a course friend from Edinburgh College of Art who is a current designer for Cole and Son Wallpapers, gave me her contact details and said she would pass on a reference from her. It has clarified to me how much I want to work in print but for an interior design direction.  I would enjoy a slower more team work heavy environment, creating a collection that could be potentially around for years and not just for a season. Overall the introduction to industry was so key and it thoroughly delivered to me, what the live project was supposed to open our eyes to.

'Fluid Muslin' Print Room Progression

Having sourced my inspiration for colour palette both from Industry and WGSN, It is important for me to dye my fabrics up myself. I am very pleased with the results. I have chosen to use minimal influxes of the zesty green to enforce the impact I want it to hold. I love how each fabric has picked up the direct dye with a variation of depth. Adding a broad tonal value to the group of fabrics as a whole. I am carefully considering how to print with the three screens I have had made up. I want to consider producing some hand work with discharge paste. Having previously sampled with it free hand, in the drawing stage of the unit, it was a very successful sample and I want to see what results I can achieve when used within this restricted colour palette.

Dyed Fabrics and Technical Notes 

Dyed Fabrics

Print Room Preparation. (Far Right A0 Screen). 

'Earthed Woodland' (Digital Output)

Initial Mood Board Inspiration

Styled Drawings with found Imagery

Dried Frog - 1963 Magazine Issue 4 

Earthed Woodland is about depicting Fletcher Moss from its primary earthy state. I wanted to use some of my first observational in situ work from Fletcher Moss, the inky state of the work is very expressive. Large brush strokes, dripping inks, think graphite pencil have all helped depict the atmosphere. Picking up the deep tones and heavy shadows was key when working in situ and soaking up the atmosphere. The Papers I worked on were in direct response from my title Raw Depiction, I wanted a range of Raw papers, unrefined, ripped and layered. Newsprint, Newspaper, tracing, watercolour cartridge have all been used to build the artwork group. I want to include the living nature side of Fletcher Moss playing with an idea of uncovering the undergrowth and discovering creatures, mice and other specimens. From seeing the magazine 1963, there were a series of these drawings (see above) exposing a soft animal, be it a frog, rat or mouse. From an outside perspective and looking at myself as a broader designer, I want to show this playful side to my prints, so I have begun experimenting with animal drawings and fitting them into this collection. Its an element my previous collections do not contain.

Animal Artworks to build collection

I needed a colour palette to work with to take myself away from the graphite quality that I have previously used. Again using WGSN I have taken elements of 'Bloodlines' to work with for A/W 2014/2015 the injection of red is intense and holds its own within this trend. The earthy tones of taupes and beiges will hopefully work well within the context of the imagery and manipulation on photoshop.

This Collection was initially compiled within my plan for four groups of prints, at the initial stage of splitting my work up. After continuing to work on all four collections separately over the last few months, It became clear to me that I would be able to finish all four collections within the time, but I want to get every collection and every print to the highest standard I am satisfied with. This collection is the weakest one at this stage, after speaking to Julie, and revising my learning agreement. I have decided to submit this started collection as development work, with the future intention of finishing this fourth collection within Unit X. Hopefully with a more learned and mature head from the submission of my other three collections for this Practice Unit. 

'Fluid Muslin' (Wet Print output)

First Artwork, layered with Reprographic Asatate. 

Initial Collection Forming Moodboard, WGSN trend colour palette, (right). 

'Fluid Muslin' as a collection initially lead from my drawings depicting the subtle nature of fabric. Imagery wise it has not been primary sourced from Fletcher Moss, like my previous two collections. However my theme and title remains running through. It just poses more of a look at gaining natural qualities through something that is manmade. Having looked at Susie MacMurray's work, her technique of drawing from heavy gauze, yet leaving a tenderness on the page was exactly what stemmed this way of working with pencil. From my first drawing in response to her style it lead onto creating several more. Using WGSN it allowed me to gain an understanding of trends for A/W 2014/2015, and eventually choosing to work with 'Spliced' taking elements from the trend such as this zingy yellow, mixed with a variations of light to heavy greys. Yet ignoring the darker navys and ocres.  From an industry perspective and envisaging my designs outside of university, I was incredibly inspired by my market research from the Romo Black Edition. A relatively new side to Romo that was released  during this unit. Having mentioned the collection previously in a post regarding Chelsea Harbour Market research, it has remained a solid inspiration up to this stage. As a whole the designs use a selected colour palette and subtle imagery. Some of Zinc's colour palette throughout their collections has influenced the broad spectrum of greys I have considered using within the print room. Having such large imagery consisting of A0 drawings, it lead to implications with screens being made. Using the reprographics department allowed me to print my designs on asatate in order for my screens to be made for preparation within the print room.

First drawing (centre) Reprographics Asatate  (top right)

Spliced WGSN trend. 

Spliced inspiration board 2, WGSN. 

Spliced inspiration board 3, WGSN. 

Looking towards an outward perspective and forward planning for when leaving, I wanted the bulk of my work to show myself as a diverse designer. I wanted this collection to have come from the same beginning journey of Raw Depiction, but I wanted the feel for it to be varied and for a different context then my other corresponding collections. The colour palette is fragrant, its simplistic and soft.
Companies within industry have varying degrees of price, obviously to cater for a broader range.  My two digital collections naturally will output at a higher price due to the technical process, however I wanted to keep this wet print range lower budget. The concept of drawing from muslin and printing back onto the initial inspiration for the imagery I love. Its a concept that the consumer may not initially grab onto but could reveal itself at a later stage. Fabric sourcing wise, I have chosen to experiment with print on muslin, because its so cheap to source, the delicate imagery and vibrant colours will hopefully add status to the material. Not a practical fabric for upholstery or heavy curtaining but adding colour and vibrance at a low cost to a room is what I am hoping to achieve as a suggested context. I have chosen to also print on towelling as an alternative, the feel and look of towelling is warm and heavy weighted, again remaining at a low cost. I don't understand why it is only used as a practical material, Printing on it as an interior design will hopefully open up an alternative way of seeing the material, and add an edge to my designs. The collection will hopefully have influences of higher end fabrics,  sampling on Silk Habotai, Charlotte Linen and Velvet  to build the fabric collection of varying material. Linen is currently highly used as a interior fabric at the moment within industry, sitting well with Velvet. Having never sampled with it previously I thought I would test the results following from companies such as Villa Nova, Osborne and Little and again Romo.

Romo Black Edition Screenshot 

Romo Black Edition Screenshot

Romo Black Edition screenshot 

Market Research Inspiration Moodboard