Unit 1: Methods of contextualising – Week 3

In the third week we delved into some critical experimentation based on the labels. This was explored iteratively in an open-ended way using weaving as a method of combining images / narratives / written experiences together.

This project was a great inspiration for our group. Using ‘Photo Weavings’ Samin Ahmadzadeh shredded and wove together two photographs of his father representing different experiences to reshape the fragments of memory into an abstract image——a recall of his father’s unconscious being formed as a result of his life experiences between an Eastern and a Western society. Our group loved these abstract visual images with a sense of vivid storytelling, where the people in the images seem to be narrating the story from across time and space. We therefore used this weaving inspiration to learn in an iterative experiment, because it is random, original, able to demonstrate subjective ideas and has emotion. Using the studio-based methods, we delved into developing iterative experiments that put our positions/information/knowledge in the form of weaving into different labels. This is the first time I have tried paper weaving, and although it is not difficult, it requires a lot of experimentation and exploration, including the choice of materials and weaving techniques that need to be considered.

I am really drawn to Sho Shibuya’s minimalist work, which is as wonderful as dyed cloth and offers a comfortable visual relief to the audience. Throughout Sho Shibuya’s creative experience, I have found him obsessed with capturing fleeting moments, like a diary, where the calm of the sky and the anxiety of the news inspire him to dialogue through inspiring art. I admire the positive qualities in this artist who uses his art in a gentle way to offer generosity and peace to those in need. However, his work is both aesthetically appealing and in tune with current events, demonstrating his political stance and personal expression. Sho Shibuya was also much appreciated by our group members for his euphemistic, softly spoken critique of the injustices of the world, but always maintaining an undying hope for life. We wish the labourers of the Rana Plaza factory building in Bangladesh the same love and peace that will come their way.

We spent a lot of time and discussion on weaving and spent almost every day in the library, which made our group relationship as strong as the weaving.

This is the latest version of our iteration, and we don’t actually expect the audience to read the whole thing, but rather want to convey our critical thoughts about the object of study in the form of such an abstract visual narrative. However, in the presentation we found that we had neglected the importance of annotated descriptions, as the audience could not clearly read the information woven within, leading to their confusion. It is as if the exhibits in the V&A, without the additional annotations aside, we do not understand the full meaning and context of what the exhibit represents.

We photographed our respective iterations placed in a physical environment depending on the individual position of the study, and our group all enjoyed the set of experiments.

What’s working well?

1. The project demonstrates a critical intention – to communicate the experiences of those involved in the supply chain and how bangladesh has evolved into a fast fashion home.
2. The project demonstrates the designer’s ability to intervene in the fashion industry and working class conflict as a storyteller.
3. This is explored iteratively in an open-ended way using weaving as a method of combining images / narratives / written experiences together.
4. By looking at the history of fashion and all the issues that come with it, it is very effective to use labels to tell stories and different positions.

What’s not working?

1. There is a difficulty in reading the messages that are being woven into the garment label. The textual information lacks readability and requires additional annotation for interpretation. How could weaving be used to make these messages more explicit?
2. The recreated labels work really well. But could this be a subversive kit for workers to weave their names into the clothes themselves? How could gcd attach the conditions and people involved in the production of the garment in a clearer more graphic way?

To develop this further…

1. How can the design elements of the primark trouser be used to communicate the complex supply chains and the places, people, involved in their production?
2. Could the labels themselves be adapted to carry graphic information/personal stories of workers/garment factory management to convey the complexity of the supply chain.
3. How could the label be used to communicate the length and branches of supply chain and who is involved? It could be a label / book that is attached to the clothes….
4. Could there be a participatory weaving element? For example using more weaving techniques and textiles or printing visual content on the fabric. Consider paper weaving, label design, graphic design, textiles, materials, typography.