In the exhibition catalogue for the exhibition of Hi! Fashion, curator and writer Gemma A. Williams: “While the design and process in this exhibition reach out to a wider interdisciplinary context, is it firmly rooted in the fashion object alone. Increasingly, current trends in fashion curation often situate the subject within the labyrinthine context of other support objects. Here, the emphasis is placed solely on the garments to instigate a purely fashion dialogue. which then opens doorways into new cultural references and inspirations.” (Williams, G year, pg. ?)
In my practice, I see myself as an artist working across interdisciplinary areas including fashion, editorials, performance and interiors. I recognise that being a maker helps to drive the design process, but often, as a creator, one is not necessarily thinking about where the work will fit within the broader world or environment. The BA Textile Design at Central Saints Martins is very open, and at the beginning, students often don’t know which pathway they want to specialise in. However, as they progress, they become more technical and develop skills that help them visualise what their textiles will be used for. Some are open to various areas, but the majority require more guidance on how to best place their work. This guidance comes through market research, and how they communicate and visualise their work.
Having shown student work in the Letherby Gallery for the last four years, I’ve often noticed that the students are eager to display their full body of work. This can sometimes feel less curated and more like an overall assessment. However, when it comes to the graduate shows, I am very conscious of the gallery setting, meaning we must be more selective and mindful of the context. I need to consider the various ways in which the students want their work to be seen— whether it’s fashion, product or textile art— and how it will be perceived by the wider industry.
Through various projects, specifically in the final stages of the degree, I want students to take ownership of how they want their work to be contextualised. I have noticed that this is often driven by specific outcomes, such as film, writing, physical and visual information, which allows an outside perspective to appreciate how they work. This has proven to be more encouraging for both the industry and the students, as it enables everyone to recognise and celebrate what they are looking at.
References:
Williams, G. A 2018. Hi! Fashion exhibition catalogue.