Meet the GFF 2020 Adaptation Award Nominees
The Adaptation Award has been created to celebrate students resourcefulness and problem-solving skills during this unprecedented time of the COVID-19. Graduate Fashion Foundation is aware that students final projects and planned outcomes have been significantly affected by the virus and the lack of facilities available to them. We are celebrating the excellent innovative work found on members courses, that was created in response to the current issues and constraints placed upon them. Projects that have been adapted to work within the situation.
Alma Sivlec Karlin, Edinburgh College of Art
The idea of a LOVE STORY emerged from the research into my cultural heritage of lace-making craft and military tailoring, as these two opposing areas created a sort of a RELATIONSHIP. I implemented this concept in my collection textiles by combining craft (lace motifs) and technology (sportswear innovation). I also fused a sportswear-like colour blocking and palette with timeless tailoring-based silhouettes. This concept remained una ected by the lockdown.
Amelia Wang, Edinburgh College of Art
I have specifically placed focus on personal family stories since the Chinese Cultural Revolution (1966-1976). The collection objectifies and presents the experiences of three generations within my family: from my Popo (paternal Chinese grandmother) to my Baba (father), and also me. I have designed garments which cross classical fashion boundaries, steering from what usual connotations of ‘fashion’ are, and instead functioning across both commercial and non-commercial contexts.
Ciara Courtney, Manchester Metropolitan University
My collection explores the Occult, British folk practices, and my own Grandmother, a practicing Wiccan Witch in the 1970s. While this exploration of the Occult may seem like a removed experience from inner-city Liverpool; this is something my Grandmother experienced and explored over forty years ago. Bringing my collection to Liverpool, in a way, has completed a full circle. My upbringing, family legacy, and home have all shaped who I am and my interests, and in a way it seems apt that my collection should end up here.
Denikah Gardner Dixon, UCA Epsom
My ideas and whole process was changed when the lockdown struck the UK. MY feminine collection was originally designed to use amazing embroideries from China and India. Because of the limitations on time and all factories closed, I decided to use my couture training as an assistant to create the embroideries myself by using applique, ribbons and lace fabrics which have been cut up and re-interpreted to amazing appliqués. The theme of Midsummer Nights dream has been realised more honestly through the new embroidery techniques I used.
Jasmine Jones, Leeds Arts University
‘ Letters from June’ is a deeply personal collection based on stories recounted between generations of home creators. The capsule takes inspiration from tales of mending and DIY and how these skills have been passed through generations of families. From a necessity and pastime before the days of mass-market media and the digital world, to a means of saving money when the purse strings were tight, and more recently, a useful skill and somewhat niche hobby; the collection aims to celebrate the unique creativity and longevity ethos surrounding the art of home creation. Not only are homegrown garments completely unique, they are also made with great consideration, time and love, qualities which are not recognised in the current climate of fast fashion and flash trends.
Katie Cornock – De Montfort University
With my first collection, although most was completed at university, the end of this project relied on the recourse fullness of materials I had access to within my house. I started using my Dad as a model, layering him in his clothes to get silhouette ideas for outfit 2. I then produced my toile with all second-hand garments, including some of his old running tops. I also had access to old beer mats, which will be used to produce my second garment of the collection. I then started using materials that I would never have used, such as trainer material. I began deconstructing a pair of old trainers to create a sample of a vest from one of my designs. Although I didn’t have enough material to create a full vest, this is something I will be doing when I do have access.
Lydia Sanders, Birmingham City University
Pledge is a digital application developed to help increase donations to charity by focusing on encouraging smaller but more consistent donations. This is achieved through the motivational, inclusive and community driven space that the app provides to encourage users to tick off their to do lists.
The unprecedented times we have found ourselves in due to Covid-19 has left the possibility of large-scale fundraising events a thing of the past. This app provides people with the opportunity to continue their fundraising efforts from their own homes and get noticed for it.
Pippa Lee, Leeds Arts University
‘$%@*!’ is a luxury brand which creates a satire against the current trend which has oversaturated the luxury market, this trend is Logomania. The logomania trend originated in the 90s and was upcoming within its era, however today has morphed into a form of conspicuous consumption. Luxury brands are sticking a logo on a t-shirt and calling it “luxury” fashion. ‘$%@*!’ won’t stand for this. The brand is a complete satire against conspicuous consumption and luxury logo branded items found in the current market.
Stephanie Ransom, Arts University Bournemouth
Looking at the classic look of the biker wear and the tough, rebellious styles of the subculture has been brought together to create an innovated mens wear collection. My family is rooted in the british biker culture, each generation connected to it in their own way. Keeping the past alive and bringing it into the now. Using my father’s old biker clothes to drape, deconstruct and reconstruct oversized new garments. Collaging the past and the present elements of the biker essence. Hard protective textures rule these garments and are juxtaposed with rough knits and soft cottons.
Tabitha Dunne, University for the Creative Arts Epsom
Going Home is a social commentary and biographical account of life contained in isolation which seeks to express the fragility and fear that home encapsulates for the subject. To many, home is safety net, the one place in the world where the pressures of the outside are relinquished and forgotten. To others, myself included, home is temporary. Going Home has been created in response to my personal relationship with being made homeless in 2018. This perios of my life has deeply affected my sense of home and left me feeling displaced. Since shifting to life in quarantine it is important to acknowledge these grievances and allow them to alter how we move forward.