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Large scale sashiko repair.

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I would take time to consider several means of repair, rather than submitting to stitching over holes or tears to close them. I would consider how the material would respond and the best means of repair for the material, and go from there.

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It would force me to slow down and consider the outcome of the repair, the colours and materials I am working with, the texture and kinds of threads, how they would work together in maintaining structure and longevity, as well as cleaning processes if the material is regularly used.

# data[].attributes.custom_properties.Nxmogicw
Repair can certainly be the design, depending on the method, and how striking the repair may be, in can become the focal point in a piece and therefore the design of a garment. This should be considered more in practice, considering the amount of textile waste in the world and the capabilities of repair in aiding this.

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Based on the provocation, I've created a material moodboard of materials and items which carry memories for me. I'd like to incorporate one or multiple of these, whether through texture, form or energy, into my study. 

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The idea of carrying memories through my designs is influencing not only my intention on using sustainable practises in sourcing my materials, but also in considering circular design practises, creating nostalgia or telling stories through found materials or reusing materials which I feel are tied to my memories and stories. This idea also prompts me to think of the life of the materials after I use them, and how I can let the materials continue to tell stories by ensuring they can be recycled after they've fulfilled their purpose in my designs. 

# data[].attributes.custom_properties.Nxmogicw
The link between textiles and memories is in many ways responsible for a vast number of trends and the existence of trend cycles. Nostalgia and memory create an inclination towards certain materials, whether based in texture, print or styles of garments themself. While trend cycles themselves are distinctly opposing circular design within the capitalistic production structure of design processes today, Louis Bourgeois' Cells and fabric sculptures utilise found objects, giving them a second life through circular design practises. She weaves these found materials into stories. She moves away from connecting to memory through trends and into a sustainably focused design process.

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Eva Hesse and Robert Morris (respectively)

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Eva Hesse – Hauser & Wirth. (n.d.). Www.hauserwirth.com. https://www.hauserwirth.com/artists/2810-eva-hesse/

Robert Morris. Untitled (Tangle). 1967 | MoMA. (n.d.). The Museum of Modern Art. https://www.moma.org/collection/works/80888

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I could focus on letting the process of the “unmaking” inform my decisions on further steps taken in my form-based study. I could also highlight some of the steps involved in deconstructing instead of focusing on what the final reconstructed outcome will be. 

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Focusing on the process of the “unmaking” may lead me to work more abstractly instead of trying to create a polished outcome. This could lead to features such as raw edges, however this would depend on the item characteristics and the textiles used.

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Items can be ‘unmade’ to expand its lifetime by making something that otherwise would have been discarded into something new. The process of the making and unmaking can be the focus of an item highlighting the creativity, skill and time that went into making something which may result in people cherishing the item for longer. The unmaking process can also highlight the previous life an item had communicating the beauty of the used and time.

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it makes me think about creating layers, volume or silhouettes with just the thread and not focusing too much on the structure underneath it. either ways of manipulating the material or letting the thread take its natural form and working from there

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it kind of makes me think of dissecting and reconstructing materials into colour coordinated sections, building from there, OR it makes me think of dissection a design and using the threads and yarns in unconventional ways, contrasting what the textile once was

# data[].attributes.custom_properties.Nxmogicw
looking at circular design, the provocation makes me think if recycling scrap or used threads, not caring too much about their appearance since they could be being used for what they are, simply just threads rather than trying to emulate an idea or concept through a specific surface design

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This is an invitation to pull things apart, thread by thread, and examine what could happen when original surface qualities are deemed secondary or allowed to be rethought. This provocation makes me want to unravel something. It has me thinking about re-using yarns and scraps. Materials can inspire an idea, which can inspire another and another, a cycle, a thread of ideas, building blocks on top of each other. 

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In relation to circular design of textiles, everything can be pared back or taken apart to discover what the building blocks are. Fundamentally textiles are objects – if you look closely enough at any they aren’t 2D, you find threads and fibres. All materials contain information regardless of size and scale, they just need to be studied. 

# data[].attributes.custom_properties.Nxmogicw
This is a reminder to be curious and ask questions, to think about what a material could do. The specific language used in this question poses thread as something solid – a block, not soft or delicate or flimsy. If thread is a 3D object, then textiles (or things made from thread) can be reworked into completely different objects. 

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"Childhood Mythologies" Project created using materials from my childhood including Mum's stash.

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Based on this provocation, I would like to revisit the use of materials in the combined stash of mine and my mother's and create work that works with the memories contained within the material. My project above tapped into very girly, childhood memories. I could possibly work toward a more mature, nuanced evocation of memory within my form study.

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This idea would help me consider how to keep the memories residing within the material when I work with them. I don't necessarily need to keep the material intact, I could still cut up, manipulate the materials to a large extent. I could retain the memory through the feelings and memories that are evoked within the piece.

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Special pieces of circular design can be created utilizing materials that carry memory. It can be memories for the creator of the piece, and it can be memories for the audience. Magical moments can be sparked when a feeling or memory is evoked by a material.