Meet GFF Talent, Tiani Etheridge, from Coventry University. Her final project is an exploration of intersectional feminism through a lens of ‘70s/’80s activism and art. Through felting, embroidery, collaging and painting, she has created a 6 piece womenswear collection inspired by 1970s utilitarian silhouettes. Read more about her work below!
What is the most valuable thing you have learnt at university?
Studying fashion at university has developed not only my physical making skills but has also strengthened me as a designer. I can now confidently transfer my initial thoughts and ideas into fully realised designs and garments. I have learnt how to take inspiration from historical sources, art, and the world around me; whilst also maintaining my own personal design aesthetic developed over the course of my studies. University has made me a more confident designer, now knowing the processes needed to create a collection. From initial inspiration, design, toiling, and final sampling I have a greater insight into the day-to-day work of the industry. Producing my collection has meant that I have built upon and developed new skills, such as surface embellishment, pattern cutting, and design development.
I now feel more confident in entering the industry now that I know how to develop a collection from start to finish My collection has resulted in a body of work to enhance my graduate portfolio; it shows of the range of my design skills and will tell future employers that I could be an asset to their design team. Now that I am searching for graduate opportunities, I will have a better idea of the requirements. The most important thing that I have learnt during my years at university, however, is to be confident in my ability as a fashion designer. Knowing that I can effectively use my own unique set of skills and design aesthetic to present my ideas through my designs, but also work within the parameters of a strict design brief for a project, or in keeping with the gaols and looks of a particular brand or client. Completing my BA in Fashion is irrefutable proof that I will be able to enter the industry as a new designer, equipped with the tools, processes, and enthusiasm I will need to have a successful career post-graduation.
What was the starting point of inspiration for your final project?
My final major project was inspired by the intersectional feminist movement, stemming from the work of activists and artists from the 70s and 80s. When developing my designs, I looked to quotes from icons of the movement and artwork influenced by it. Particularly, Kimberlé Crenshaw, an American law professor who coined the term in 1989 explained Intersectional feminism as: “a prism for seeing the way in which various forms of inequality often operate together and exacerbate each other.” The topic has always been of interest to me, particularly as a female designer in fashion. The icons that have influenced the movement. “…during the 1970s, black feminist scholar-activists, a number of whom were also LGBTQ, developed theoretical frameworks to serve as a model for other women of colour, to broaden feminism’s definition and scope”. (UN Women, 2020: online)
I have chosen to explore this theme because, it is a topic not only of personal concern as a woman in industry but also a global issue that continues to influence further conversation. This is of relevance to fashion, due to the disproportionate number of women being hired, but often paid less. Looking for artwork that portrayed its subject in interesting ways; by use of colour and texture, I found Bisa Butler, an artist that uses quilting methods create intricate portraits that have the look of paintings without using any paint, only contrasting appliqued fabrics and contrast stitching. One of her pieces ‘Antasewa’ became the focal image of my colour board. My research started by looking for books to further my understanding of the movements beginning in the 1970’s and 80’s, such as ‘Women, Race and Class By Angela. Y Davis. I also conducted a study visit to Birmingham Art Gallery, visiting their exhibition; Birmingham Revolutions: Power to the people. It explored different ways to protest inequality, including art, fashion, and music
What form does your final project take?
My project will take the form of a 6 outfit womenswear collection; influenced by 1970’s utilitarian silhouettes. When deciding on what I wanted to produce for my Final Major Project, I wanted to create a collection that would showcase a strong use of colour, shape, and texture. Inspired by my research I started my experiments with collaged portraits influenced by my gallery visit and print research. To produce my collages, I used freehand embroidery and hand painted papers. The embroidery samples led me to work with more 3D elements in my designs. Inspired by the loops of threads in the embroidery, I went on to develop the eye shapes with yarn, with the eyelashes represented by loops.
This added a new layer of texture to my outfits. I also used it as an opportunity to learn a new skill, crochet. Adding more tactile elements to my design, was an opportunity to display more physical skills rather than relying on the digital. l This led to creating applique’s with Merino wool to recreate my initial collaged portraits in a textile medium. Utilising skills I had learnt during my textiles studies before university; needle felting and wet felting. My needle felted portraits are colourful and make my garments more visually exciting and interesting to touch.
Being at home due to Covid19 restrictions also meant that I had more time to work in a tactile way at home, working more at home than in the university studio. Developing my skills in textiles creations; felting, stitching, and crochet made me consider more textiles led approach to my specialism. My base garments will be comprised of denim and cotton twill garments such as my zip front jumpsuit and pinafore in contrasting colours, bright block colours of jersey for my flared sleeve turtleneck, and finally a shirt in a print I designed custom for my collection, all topped with the signature mohair felted jackets
What materials have you used and how did you source them? (300 words)
A challenge brought forth by Covid19 was the change to the way I would need to source fabrics. Typically, final year students would source their fabrics during a trip to Paris. Due to COVID-19 restrictions, this was unable to happen, I was unable to physically visits any stores and would need to source my materials online. The primary issue with this, was that I wouldn’t be able to ascertain the quality of fabrics. Unfortunately, when ordering some of my fabrics online, I was disappointed by the quality of the fabrics. Nevertheless, it was useful to learn more about what properties to look for when shopping online for fabrics. Certain mixes produce a higher quality of material. I would also have to face time delays and possible unexpected costs.
I combatted this by thinking carefully of the source of my sample fabrics, I used a combination of wholesale companies such as Swatchon (based in South Korea) and UK based companies. I used Swatchon to order fabrics for my 1970’s influenced base garments (button up shirt, wide leg jeans, A-line skirt, jumpsuit and pinafore).I would need high quality denims of a good weight and finish that I could topstitch into, would keep its shape and came in a variety of colour options. I also sourced brightly coloured jerseys from Minerva fabrics. The fabrics that required the most careful sourcing were for my statement felted coat. The trench coat has a base of coloured mohair. I will then use needle felting tools to layer the coat with varying sizes of felted portraits. The portraits will be finished with free hand embroidery machine stitching. I sourced my merino felting wool from a UK based company, it was rewarding to support from a small business, and meant that I could ensure someone would benefit from my business in a sustainable way.
How has it evolved from your initial ideas and what have you learnt along the way?
My collection has evolved in many ways. From the beginning of my design inspiration, I wanted create garments based upon the idea of wearable artwork influenced by the work of intersectional feminists activists as the movement has evolved from the 70s and 80s’. I was fascinated by my research into how throughout the history of protest, activists have used fashion as a means to alter how they are perceived. Particularly how they would produce a uniform of sorts that would include certain colours, silhouettes, utilitarian style co-ords and hidden messages. Now more than ever we are designing with a social cause in mind, whether it is the BLM movements, protecting the environment, or #METOO and feminism.
I wanted to combine the ideas of messages shown through posters and textile banners, and a printed or appliqued garment. Initially the focus of my collection was to be creating my own prints and using them in my outfits. The large scale of the pieces would make sure that the wearable art concept could be fully displayed. My prints were developed with collaging techniques, using a mixture of images, stitching, and papers I had painted. However, surprisingly my collection moved in an unexpected direction, focusing more on surface embellishment.
It developed from a print-based project to one utilising knitted and crocheted yarn shapes, and finally the use of decorative topstitching and freehand embroidery, paired with wet-felting and needle felting. It was an important learning experience to understand how a collection may change from start to finish. Sometimes your work ends up in a style you don’t expect. Throughout university I have been more focused on the development of my digital skills and sketch booking and hadn’t fully appreciated the importance of fabric sampling, and how its worth taking the time to add in unique details to your designs.
What are the messages and themes behind your project that you want people to take away? Do explore any topics like diversity, sustainability or politics in your work?
As the inspiration for my collection is the topic of intersectional feminism, it was important to research how my designs may be influenced by activism, and how I may reflect those ideas back into my designs through print and silhouette. I wanted my garments to be aesthetically pleasing, vibrant and decorative in nature, much like the quilts, prints, and paintings I had been influenced by from my project inspiration board. When considering my target market, I am influenced by designing for people that are interested in clothing made with a tactile quality and consideration of the themes they’re based upon.
Protesters in the 50s and 60s used clothing as a visual currency in implementing change, the way they presented themselves helped them to combat racial stereotypes. “Women who participated in the movement wore neatly pressed hair,cardigans,button-ups, and stockings under skirts with modest hemlines-the distinct vision that may come to mind when you think “Sunday best”(Newman, 2020, Online Article).“In the journal article “Dressing for Freedom,” author Abena L. Mhoon states, “When arrested on December 4, 1966, [Rosa Parks] was described as a soft-spoken, middle-aged bespectacled impeccably dressed woman in tailored clothing.
Mrs. Parks’ quiet style and dignified bearing were stressed by protest organizers” (Newman, 2020, Online Article). The idea of using clothing to combat social issues fascinated me as a designer. I used traditional garment silhouettes; the trench coat, button up shirt, jeans and A-line skirts and dresses- oversizing them and exaggerating details for impact. When entering my final year of study, I intended to create a print design focused collection. With the effect of multiple coronavirus lockdowns and working from home, I reconnected with the more tactile textiles focused areas of design I had forgotten. Rediscovering the joy of using surface embellishment with decorative stitching and felting techniques; this became the focus of my statement coats
What’s an aspect of the fashion industry that you’re passionate about fixing or having a positive impact on?
My graduate collection focuses on the ideas surrounding inclusion; specifically, the theory of intersectional feminism and how peoples social identities can overlap, creating compounding experiences of discrimination. I am interested with how the fashion industry can become more intersectional in the content produces and hiring practices. The things we design and create are directly influenced by our individual perspectives, diversifying our pool of talent can only improve the industry, and the innovations made. I am passionate about using my experiences in the future to assist new creatives entering their studies and industry.
This year I participated in the Mentoring Matters programme. It connects students from BAME backgrounds with industry mentors via zoom meetings to offer help and advice. This programme was a great help to me, keeping me connected with others in the industry throughout the isolation of the coronavirus pandemic. My mentor proved to be essential to the developments of my project, offering guidance and feedback on my sample development, portfolio ideas and providing the opportunity to speak to in-industry CAD workers and designers. It was invaluable to be able to speak to industry professionals. It also created a network of creatives with shared experiences.
Using the app Slack, Mentoring matters alumni can now access a range of other creatives for advice and collaborations, including fashion designers, stylists, makeup artists, photographers, and marketers. This experience has furthered my enthusiasm for using my industry experience in the future to help out young designers and pay forward the help I have been given during my time at university. I want to have a positive impact on the industry by making sure that these new designers have a solid support network. If I reach a position of power within the industry, I will be able to ensure that future designers and makers are given equal opportunities with jobs
What is your plan once you finish your BA?
Before Covid19 I had planned to travel and visit somewhere in Europe post-graduation, I enjoy travelling as it provides an opportunity to gain inspiration from new surroundings by viewing artwork, photographing architecture, and meeting new people. This is unlikely now, however. With the restrictions in place this year, I was unable to produce a 6-outfit collection as planned. I am now creating two outfits, focusing on creating garments of a high quality and aesthetic strength, with my felted mohair coats as the focal points of the outfits: displaying my textiles skills. I am considering using the time after I have graduated to possibly create more of my planned outfits, considering alternative details to the clothes and such as differing fabrics, finishes, and colour combinations.
After graduation, my goal is to secure either an internship or entry level role in Womenswear or print/ textile design where I can build upon the design and production skills I have learnt throughout my studies. My sandwich year in industry was interrupted by the pandemic, and as a result I did not get to gain the breadth of experience that I wanted to have before graduation. I look forward to using the time after graduation to think able where I may want to work in the future, whether it be womenswear design for a large or small scale business. print, or textiles design.
I enjoyed the working environment of a a smaller independent brand and the opportunity for a higher level of responsibility in the studio. However, I would also like to learn about the day-to-day work of a global, larger scale brand, and the differences between the processes the team undertake. This will help me to ascertain the type of company I want to work for in the future. It will also provide an opportunity to learn about other parts of the industry and develop new perspectives and technical skills.