Nina Born & Siff Pristed Nielsen
Nina Born and Siff Pristed Nielsen, 24. Kolding School of Design, BA Textiles Graduates 2009.
-specialism: Print (Nina) and Knit (Siff)
Project title:
Sinner
Inspiration:
We took inspiration from the 7 deadly sins (Wrath, sloth, greed, lust, gluttony, envy and pride). Both from a historical point of view and also by pursuing the sins in a more personal way. For example we made a case about “pride” where we had a party to celebrate ourselves without telling people the true purpose of the event. We put up full size posters of ourselves, and ran a slideshow with childhood pictures and stuff. In the end after going through all the sins we realized that it´s actually hard to expose yourself since the 7 sins still are feelings you don´t like to be associated with. But making cases like this is a fun and good way of getting a project started since it´s a more abstract way of gaining research material.
Where do you get inspiration from in general?
Mostly we get a lot of inspiration from history. Looking into old textile techniques and folklore from around the world as we try to put it into a more modern context. Often the folklore has a naive, graphic and abstract expression that really gives us the inspiration and wildness we want to put into our own products.
How is the process when you design?
We often start with a very theoretic approach, researching the subject both visually and theoretically.Then we go into the more abstract and intuitive phase. But it´s always nice to have some theory to back up a very abstract and conceptual project. It makes it more completed.
What do you find most difficult about the design process?
Going from the experiment phase to the transformation into the product. Making decisions and agreeing, and of course to kill your darlings once in a while.
What are your strenghts?
We compliment each other very well. The weakness of one person might be the strenght of the other person and that is when a teamwork gets much better than working on your own. When one is frustrated with something not going that well, the other part can take over the work and support and visa versa.
What are your weaknesses?
Like said before we help each other out. When Nina panics Siff calms her down, and when Siff is compromising too much on the details, then Nina holds on to perfection.
Describe your collection with three words:
Textile techniques, conceptual design and historical references.
What techniques did you use?
In the final styles we used: Digital knit, digital print, screen print, burn-out, cut-out in leather, hand-knit, shibori, dyeing fur, weaving, space dyeing, pompons, knots, foil print, palliet embroidery and fringes.
Which technique was the most difficult?
None of them were really difficult, they were just all very time consuming since we love making, e.g. thousands of little knots or wrapped sticks and so.
Do you have a technical or conceptual approach to designing?
We value both areas equally.
Which garment was the most difficult to make?
The white burn-out trousers in the sin Sloth. We made burn-out on silk velour and it was rather difficult cause if you heath the fabric for too long it takes colour from the burn and if you heath it too little the velour don´t really want to come off and since it was our first time making burn out and we had to make a lot of fabric it took some time to figure out the technique.
Which garment took the longest to make?
The 9 meter of woven fabric in thin cotton for the pink Gluttony jacket.
Which garment is your favorite?
Again the pink Gluttony jacket because it was so time consuming to make and we just finished it right before our examn. We were not sure about the outcome of it and therefor it was such a big achievement to see it fitting the model so beautifully.
What technique is your favorite?
Embroidery is nice and meditative.
How long did you work on this project?
For 3 months.
Is there something you regret not doing in your collection?
We woulld like to have accomplished all 7 sins instead of just 4, but since they all had so many details and different techniques and handmade approaches there simply wasn´t time enough for all 7 sins.
Which designer would you like to work for in the future?
We dream of continuing our collaboration in the future and make a nice inspirational company creating all sorts of textile products from clothing to interior and art installations.
Why do you want to be designers?
It´s the only thing we are good at.
What was your childhood dream job:
Nina : senior citizen, Siff: superhero.
With one word, what is your best quality?
Siff: affection, Nina: determination.
What are your plans for the future?
We would like to conquer the world.
Contact info:
Nina Born: ninacecilieborn@hotmail.com, Siff Pristed Nielsen: siphph@hotmail.com
Josefin Arnell
Josefin Arnell, 25. Beckmans College of Design, Second year knitting project 2009.
- specialism: Fashion Design.
Design Background:
Before I started at Beckmans I went to different preparing schools where I did art, textile and fashion. One in England and 2 in Sweden. I can recommend Steneby located in the Swedish woods, best school ever!
What was the most valuable you learned before starting at your education?
At Steneby I took one year called “clothes”. We focused most on concepts, how to develop your ideas and had a lot of art classes. We didnt have any rules how you do certain things, I learned that you dont need to do things in a special order. If we wanted to sew something we had to figured out how to do it ourself, I like that way of thinking, even if is takes more time.
Project title:
mirror mirror on the wall
Inspiration:
In the last couple of years I have been working with my fear from darkness. This is my first collection I have ever made so I thought I needed to do something out of my “old subject” for once. In this project I tried to deal with certain situations both more emotional feelings to more concrete things like when Im sitting in my sofa and someone is trying to grab my feet. I always feel that Im never alone, that Im always watch over, that someone or something always can see me through the mirror.
Where do you get your inspiration from?
From everywhere. But I love all kind of mystic things and situations that can’t be explained. The supernatural things about life scares me very much but it also gives me inspiration to investigate more. I love surrealism and Im very into our perception and how people look at reality.
But I get a lot of inspiration from movies, people around me, my own experiences and feelings about things..
How is your process when you design?
Every process is different. I always try to find new ways to work. But I always draw and write stories which are more like fairytales, built on my own experiences. Im always the main character but in other shapes.
I often put my self into different situation and document it with photos. I also like to find my information on Wikipedia or on blogs – its feels free that I dont know if it’s totally real fact or not, I always change the information the way I want it anyway.
What do you find most difficult about the design process?
When I get stuck and realizing Im doing the same things in circles over and over again. To understand what Im doing and to reduce my information so I dont end up being to confused.
I always find it hard to translate my work into clothes and always think that my investigation probably would suit better in an other shape, I have realized thought it’s just a monster in my head trying to trick me off the road … even if Im also interested to work with other media…but after making the clothes Im surprized that Im satisfied. Lately I try to start do things with my hands as early as possible otherwise I will go on for ever n ever to make fairytales
What are your strengths?
That i dont understand fashion.
What are your weaknesses?
Patience.
What techniques did you use:
I made all my materials and prints by myself except a thin shiny glitter fabric piece and a withe goat fur I got from my neighbour. The fabrics are from industrial machines, hand knitting machines, I also knitted and sewed by hand, coloured and did embroidery.
Which garment was most difficult to make?
The big withe fluffy cocoon thing, mostly cos I thought it was going to be easy. I thought I could just drape it around a doll, but it was a bit more than that. I think I used about 6-8 meter of dubbed side knitted Mohair. Which I did in a hand knitting machine and then used it as meterware. I wanted it to look like a fluffy cloud, but with all the material it just wanted to look heavy and felt in too pieces all the time.
Which garment is your favorite?
The apricot knitted sweater with all the eyes on, mostly cos it’s so sweet but in the same time a bit scary, I sometimes wear it when Im out walking and people always have to come up and touch it..
What technique is your favorite?
I love knitting machines, I really want to explore them more.
How long did you work on this project?
About 3,5 months.
Is there something you regret not doing in your collection?
There is always so much more you want to do, but I dont like to regret things so No.
What made you pursue knitwear?
Beckmans is such a small school we dont choose specialism. In year 2 all fashion students is doing a knitwear collection. But so far I think knitwear suits me very good.
What designers inspire you?
Bernhard Wilhelm, Noki, Jeremy Scott….but most artists like Matthew Barney, Pipilotti Rist, Anette Messager, Francine Spiegel, Shoplifter, Nagi Noda, Terence Koh and loads of upcoming designers and not yet famous students
Why did you choose Beckmans?
I decided I wanted to do my BA in Sweden, we only have 2 fashion colleges in Sweden, I thought Beckmans suited me most.
What did you think of the education?
Im not finish yet and I have actually taken a year off from school before I do my last year. I did it because of many reasons, some of them is that I felt confined and needed to see the world and I needed a break from my studies, Im also confused about the whole fashion thing and I dont want to continue to do collections right now. In year 3 you do two collections.
How were the school? Facilities? Teachers?
Beckmans is a small school. About 150 students and It’s only about 14 students in every year at the fashion department which makes a high quality of students and a great chance for everyone to have a good contact with the teachers.
All fashion students need to have knowledge in both sewing and pattern cutting before they are accepted. Also they want you to take art classes and maybe do internships before starting the school. The school dont have any equipment except some few sewing machines.
What advice would you give new students?
Dont let the school eat your life!
Which fellow students would you like to highlight?
Erik Annerborn and Heidi Nilausen.
Why do you want to be a designer?
I didnt think the real life was enough so sometime back when I dont remember I realized I needed to get my imagination out from my head, in fashion and art you can make up what ever you want and live in it 24 hour a day.
What was your childhood dream job?
My parents always worked, even on the weekends. I didnt want to have a work ever I just wanted to live on a small Iceland together with a pony and make cookies every day.
Have you ever been nominated or won a design competition?
I got the culture prize from my home village last year, that was I great honour.
What are your plans for the future?
As I mentioned Im taking a year of from school. I just came home from New York where I interned for an icelandic artist named Shoplifter.
I will probably be in London the rest of the year. And Im working on a project called “The infernal laugh of a furious pony” together with my friend Hedda, its gonna be super. Its 5 or 6 short films based on my collection story but in a more developed form since we are two now, we are planning an exhibition after christmas. It’s a perfect example who I want to continue to work in the future; to share and built your ideas with your friends and to mix different media into all kinds of fields.
Will you be selling your collection?
Since it’s just one piece of everything it would be strange to sell it, Im that kind of person that probably will regret If Im selling it and want to use it again in an other project in the future…but yeah Im very broke now so maybe for a very high price…
Were can we find more information on you?
Contact info:
josefinthepony@gmail.com
Hollie Maloney
Hollie Maloney, 23. University of Brighton, BA (Hons.) Fashion Textile Graduate 2009.
- specialism: Knitwear.
Design Background:
A year art foundation at Chelsea College of art and design. One year work experience as part of my degree, 3 months at Envy Designs, 3 months at Cardigan, 3 months at Whistles, 3 months at DKNY in New York.
Inspiration:
My final collection was based on eco-architecture and the accidental colour that came from photographing different structure.
Where do you get inspiration from in general?
Architecture is my main inspiration, I always carry a camera and am inspired by unusual colour and texture combinations in the world around me.
How is your process when you design?
I work in sketchbooks, one for visual inspiration, one for colour, and one for garment shape and fashion ideas. My work tends to develop through sampling, I work out my garment shapes and apply my knitted samples to them, I work in Photoshop to try different colour proportions and combinations to produce fashion illustrations.
What do you find most difficult about the design process?
Being able to whittle so many initial ideas down into a final collection, I want to use a bit of everything and it’s not always possible.
What are your strengths?
I’m really driven by colour and am confident at using it in unusual ways. I have a good eye for trends but am also strong on the technical side.
What are your weaknesses?
Making decisions, I often take a project in one direction then wonder if I should have done something completely different.
What techniques did you use:
I worked on different gauge knitting machines (see below) using the following techniques by hand: Intarsia, Cabling, stitch transfer, double feeder knitting, inlay, weaving.
Which machines did you use to create your collection?
Domestic 3gg, dubied 8gg, dubied 10gg
Which technique was the most difficult?
Double feeder knitting: It isn’t something the machine naturally wants to do and it took a lot of practice to perfect so that the knitting didn’t fall off the machine
Do you have a technical or conceptual approach to designing?
A bit of both, I initially work from a concept, but machinery has it’s limitations so things have to be adjusted so that they actually work which may give an overall different effect than what was originally intended.
Which garment was most difficult to make?
The womens piece with the batwing style sleeve, the machine didn’t like knitting big areas of single bed for the shapes in the middle and it took a few attempts to get it right
Which garment took the longest to make?
The first one I made which is the womens fine gauge dress in the maroon and teal colour way, I was trying a lot of things out and it was the first time I had used the double feeder technique on such a large-scale.
Which garment is your favorite?
The womens maroon and teal fine gauge dress, It was a huge learning curve and I love that colour way in the fine gauge.
What technique is your favorite?
The double feeder technique, It took a long time to perfect but I think it looks effective, I also like the cable I did on the jpin of the intarsia on the two chunkier pieces.
How long did you work on this project?
From initial research through to final photoshoot etc 9 months
What made you pursue Knitwear?
I enjoy working with an end fashion product in mind, with knit you can shape and produce the garment as you make it, I enjoy working 3d.
What designers inspire you?
I love classic British brands such as Paul Smith, Pringle and Burberry but my favourite designers at the moment have to be Marni and Dries van Noten.
Which designer would you like to work for in the future?
Any of the above.
Why did you choose Brighton University?
I chose Brighton because of it’s reputation, location and the year working in industry which has been invaluable since graduating.
What did you think of the education?
Really great, I had a very encouraging, inspiring tutor the whole way through which really helped.
During your education, which project has been your favorite?
My final collection, it’s the only project I’ve ever had the time to get really involved with it and do what ever I wanted.
Have you ever been nominated or won a design competition?
Since graduating I have been selected from over 300 applicants for ‘Texprint 2009’ as one of the final 24 and gone on to win the ‘knit’ prize. This has given me a wealth of experience including showing at exhibitions and trade fairs in London, Paris and Hong Kong attracting the attention of companies such as Aquascutum, Oscar de le Renta, Lyle and Scott, Paul Costelloe and Jaeger.
What are your plans for the future?
To get a knitwear design job within a mid to high-end fashion company.
Will you continue to MA?
I have no plans to at the moment.
Will you be selling your BA collection?
I would be happy to sell my collection if there was any serious interest, I couldn’t remake it as I don’t have the right machinery.
Were can we find more information on you?
University of Brighton website, WGSN, Drapers website, Vogue.com, Texprint website.
Contact info:
holliemaloney@hotmail.co.uk,
+447946329972
website coming soon
Betina Møller
Betina Møller, 27. Kolding School of Design, Fourth year project, spring 2009 (Expected MA Fashion Graduate 2010)
-specialism: Fashion Womenswear
Design Background:
Before starting my education at Kolding School of Design, I took courses at The Animation Workshop, the Drawing Academy, Den Skandinaviske Designhøjskole and Skals Håndarbejdsskole.
During my time at Kolding Design School I’ve done professional cooperations with La Femme Fatale, Cph. and interned at Susan Cianciolo Studio, New York.
What was the most valuable you learned before starting at your education?
To be present and to see.
Project title:
Giant Panda
Inspiration:
I have worked on studies in form, material, color and aesthetics.
Throughout the process the focus has been to create an expression that can visualize the mood of the Giant Panda mind, creature anatomy, diseases, diet, habitat, life and offspring. The aim is to create awareness on the Giant Panda and the efforts to save it.
The focus for this project has been on aesthetics, to materialize moods from this particular animal to the consumer and to make stronger emotional ties to the Giant Panda and thus the desire for action and conservation of this unique animal.
This project is driven by the importance of saving the Giant Panda and maintaining the diversity of wildlife and ecosystems which inspire us. You can say a lot about the Panda and why it is an admirable animal. It is in essence, a walking fossil. The only thing that has changed with the Panda in over millions of years is its physical size. However, many of these animals in pristine forests have disappeared. Therefore the Panda are in many ways the last link to a larger and better understanding of this specific animal group and thus knowledge about our planet and its own development.
Concept:
The form concept for this project is built from a 3D Giant Panda model, transformed to 2D pattern designs and then draped to 3D form again. 3 silhouettes, each with a different colour, shape and identity found within nature.
Silhouette 1: Green bodysuit: long bamboo silhouette, to live in ones favorite dish.
Silhouette 2: Yellow dress: Loneliness, desire to be alone.
Silhouette 3: Orange dress: Nurturing embracing volume and hiding place.
How is your process when you design?
I study my subject thoroughly, read and write a lot in the start of the process. I collect sample materials and pictures and experiment with surfaces and shape. I often built the shape and try out different materials in the form while sketching. I love to collaborate with other designers for instance graphic designers. I feel it brings a new dimension to the final product.
What techniques did you use:
I’ve used airbrushed fabrics and garments (bleached and coloured) to give a sense of light in the bamboo woods. Hand-knitting techniques were used to imitate the illness from parasite worms. The entire collection is developed through the concept of using 3D form to create 2D shapes and patterns and then taking them back to different 3D forms.
What technique is your favorite?
Draping with the shapes I have constructed. It makes my process very free. It feels intuitive to have a limited set of rules or guidelines…. (Thank you Lars von Trier!)
What do you find most difficult about the design process?
Taking decisions when you’ve worked too long on a project and go blind.
Do you have a technical or conceptual approach to designing?
I use a combination of both approaches.
Which garment took the longest to make?
The orange “Panda mum-dress”, it’s in two layers of silk organza sewn with frensh seams, and painted with air brush.
Which garment is your favorite?
I like the yellow dress a lot, because I fell that it almost made itself and took me by surprise! I had worked hard on the silhouette and then suddently it all came together. I think the three different qualities and nuances work well, and the differenses in the materials makes the draping move very elegantly when it is worn.
I aimed for a look of airiness, embodiment and strength which I think works for the final silhouette.
How long did you work on this project?
5 months.
Where do you get inspiration from in general?
My inspiration is found primarily in nature and art. I also enjoy looking at vintage clothes, traditional ethnic and ceremonial folk costumes. And of course street style as well.
Why did you choose Kolding?
I visited other schools before applying and this was the place I felt at home. The facilities are great as well as the consultants. The intimate environment at the school creates a bond between fellow students. I think it has something to do with location of the school in a smaller town in the province. It certainly makes your life very simple and concentrated around your work, it’s a unique atmosphere that brings an intensity to the work.
What advice would you give new students?
Take a walk everyday. Rememer it’s a privilege to study and you will learn better if you enjoy and have fun at the same time. Always ask questions and show you care.
Which fellow students would you like to highlight?
I think there’s several, but to mention one; Gratuate textile designer Magnhild Disington has made a cool and inspiring collection of trend surfaces for portable electronic devices focusing on tactility. I love her experiments and think she hit a potential marked with her aim of giving the products more of an affection value and therefore lenghting the duration time for the product.
Why do you want to be a designer?
I have the need to create and make the world a better place….. (Thank you M.J.)
I love to look at beautiful things and sense the strong energy in great ideas, It gives me energy in a way nothing else can.
What was your childhood dream job?
I wanted to be a vicar at the age of 3 but was told it would take me 7 years, which changed my mind. Later I dreamt of being a circus performer, rideing a onewheeled bike or an artist.
With one word, what is your best quality?
Empathy.
Which designer would you like to work for in the future?
I hope to collaborate with a great number of interesting designers, artists and performeres both nationally and internationally.
Have you ever been nominated or won a design competition?
I’ve participated in Designers Nest in 2005 with my 2. year collection.
What are your plans for the future?
Finishing my MA in Kolding and then see what life brings me!
Contact info:
Daniel Lee
Daniel Lee, 23. Central Saint Martins College of Art & Design, BA (Hons.) Fashion Womenswear Graduate 2009.
- specialism: Fashion Knitwear.
Design Background:
I studied an Art foundation specialising in fashion design at London college of Fashion. I have interned for Giles in London then completed a year working as an intern in Paris at Martin Margiela and then Balenciaga. I have worked freelance for Meadham Kirchhoff in London for 2 seasons and also worked on commissioned pieces for Lady Gaga since graduating in July.
What was the most valuable thing you learned before starting at your education?
To work hard and maintain focus.
Project title:
Living Jewels
Inspiration:
I was inspired by the concept of representing photographed micro detail typically invisible to the naked human eye.
Where do you get inspiration from in general?
I am typically inspired by art, music, drawing and photography.
How is your process when you design?
I start by collating as much research as possibly then allowing this to lead onto fabric experimentation, drapery and sketching. I then edit this down again and again until I am left with the strongest ideas. Then I develop these by changing elements and working them into conceivable garments.
What do you find most difficult about the design process?
Editing out and deciding which ideas to shelve and use later.
What are your strenghts?
I have a considerable amount of technical ability and so can work quickly to test out ideas and create mock ups and samples.
What are your weaknesses?
Deciding which are the best ideas and which are superfluous to communicating the feeling of the collection.
Describe your collection with three words?
Sculptural, fierce, dramatic.
What techniques did you use:
I created the knitwear using machine techniques. I used pocketing to encase jewels and created quilting effects. I embellished with metal washers and used heat forming to create scale-like textured knit. I also used digital printing processes on woven fabrics to highlight and emphasise garment cut.
Which machines did you use to create your collection?
I used 14 gauge Dubied machines to create the finest knitted garments I could achieve. I also use a domestic knitting machine to work with mohair and metal washers.
Which technique was the most difficult?
Working on the finer gauge machines is always most difficult as it is almost impossible to correct mistakes.
Do you have a technical or conceptual approach to designing?
Both. I switch between depending on the stage of the collection. Ideas are always conceived conceptually but then I assess technicality to realise and achieve my ideas, therefore sometimes modifying them along the way.
Which garment was most difficult to make?
The crystal jumper as it was 14 gauge knitted in very slippery yarn which easily tangled and snapped.
Which garment took the longest to make?
The knitwear pieces took equally long to make.
Which garment is your favorite?
I really like all the knitwear but particularly the crystal jumper and the scale heat formed one.
What technique is your favorite?
I enjoyed testing heat formed knitwear as it is not particularly common and I intend to develop this idea in the future.
How long did you work on this project?
5 months.
Is there something you regret not doing in your collection?
There are more pieces and looks I would like to have realised as I experimented with more techniques and garment cuts but I ran out of time.
What made you pursue knitwear?
I am particularly interested in surface and how this works together with garment shape. Knitwear gives you a unique freedom as it allows you to create a fabric and work it into a shape at the same time. I am definitely inspired by this concept.
What designers inspire you?
I love the work of Thierry Mugler and 1990s couture. It changes every season depending on the latest collections but typically I am drawn to Balenciaga, Givenchy, McQueen and Prada.
Which designer would you like to work for in the future?
Any which show during the Haute Couture fashion week schedule as these shows are extremely creative and contain many innovative textile elements.
Why did you choose Central Saint Martins?
The legacy and reputation.
What did you think of the education?
I enjoyed the creative freedom and understanding the school promotes. The ethos is very much about ideas and little about technical know-how.
During your education, which project has been your favorite?
Definitely the final collection as it allowed the time to extend and develop ideas to many stages. It is also very meaningful to realise these ideas into a physical collection.
How were the school? Facilities? Teachers?
The facilities at CSM are notoriously limited, however this persuades you to think outside the box and overcome these restrictions. We have worked with numerous industry specialists. Certain ones are more inspiring but this varies depending on your personal style and taste. I enjoyed the atmosphere, it is predominantly competitive and hard-working.
What advice would you give new students?
Learn to work fast and be confident about decision making.
Which fellow students would you like to highlight?
I particularly liked the collections of Dean Quinn and Viktor Smedinge who graduated from the same cohort as me. I think they both worked towards a similar ‘look’ as myself so I guess it makes sense they were my favourite.
Why do you want to be a designer?
I enjoy channelling creative energy and hope to influence with the work I produce.
What was your childhood dream job?
To be a fashion designer, a performer or a DJ. It still is and I hope to achieve them all. My dream has always been and always will be to become the most successful at what I do, whatever that may be.
With one word, what is your best quality?
I am exceptionallty driven.
What are your plans for the future?
I would like to have my own label and work as a creative director at a major fashion house.
Will you continue to MA?
I plan to start the MA this October at CSM.
Have you replied for a MA?
I was accepted onto the MA at the beginning of this year as the head of the course met with certain students from the BA.
Will you be selling your BA collection?
I have remade several pieces of the collection and sold these privately. I also met with the buyer from Browns Focus as I hope to one day sell my own label collection to them. I intend to keep all the samples of the collection for press purposes.
Were can we find more information on you?
http://www.notjustalabel.com/articles/the_london_graduates
http://www.showstudio.com/blog/34952
http://www.drapersonline.com/trends/catwalks/graduate-fashion-week/daniel-lee/5003710.article
http://www.catwalking.com/GRADUATES/GRAD_09/BA_shows/shows/CSM/gradba.html
Contact info:
+447875 389471
