the 2016 MAAD Thesis catalogue here.

20
16
MAAD THESIS
C ATA L O G U E
JEWELLERY
TABLE OF
CONTENTS //
JEWELLERY
Foreword & Acknowledgments
4
Brittany Beam
6
Jenica Fan
8
Masha Gabrieleva
10
Shin-you Hou
12
Caitlin Jeffrey
14
Dohee Jung
16
Kenneth Kwok
18
Anne Kyung-Jin Lee
20
Cherry Liang
22
Caitlin McConachie
24
Laura Mitchell
26
Heejin Nam
28
Janice Ng
30
Vanessa Raquel
32
Kristie Wong
34
Zoe Zi Yi Yin
36
FOREWARD
At first glance, the work of the 2016 Material Art & Design
thesis class will seem to be another strong collection of
wearable, sculptural and experimental works inspired by
a passion for manipulating materials into new forms. On
closer inspection, a deeper engagement with the process
of discovery will present itself.
Each Material Art & Design student is an explorer of materials and concepts with their own map and chosen territory. This year four territories or themes emerged to captivate the students’ imaginations, themes that I will refer to
as narrative, time passing, transformation, and the body.
The first theme, narrative, included works that considered
questions of personal identity – through cultural heritage
and symbolism or in telling stories of struggle and fantasy.
The second, time passing, included investigations of memory, waiting, pace, ritual and slowness. In the transformational works, materials changed from one state to another
as students reimagined light as form, repurposed waste,
reinvented food and reconsidered our place in the natural world. Finally, within the theme of the body, students
investigated accessible, multipurpose and alternative fashion alongside sculptural garments that questioned the nature of clothing.
Interestingly, the combination of narrative, time passing,
transformation, and the body could be used to define
what we experience when we make craft. On behalf of
the Material Art & Design faculty, congratulations on your
journey so far. We can’t wait to see where you go next.
Dorie Millerson //
Chair, Material Art & Design
ACKNOWLEDGMENTS
MAAD Catalogue Committee
Vanessa Raquel Castellino
Dohee Jung
Janice Ng
Zoey Zi Yi Yin
Chair, Material Art & Design
Dorie Millerson
Catalogue Design
Katelyn Powers &
Jazeen Hollings
Photography
Nicholas Kalimin
Printer
CJ Graphics
PAGE 6
MAAD THESIS CATALOGUE 2016 // JEWELLERY
BRITTANY
BEAM
Social Media Anxiety and the Calm
Immersive Installations // Brittany Beam’s
work is commenting on the information
overload that teenagers experience due to
social media and the anxiety that this exposure
causes them. Through two installation pieces,
Brittany’s work explores the dichotomy of anxiousness and tenseness with calmness and serenity. The anxiety installation uses wires from
electronic cables that have been twisted, knotted, and bent into three-dimensional forms
and stitched with high-contrast threads to the
front and back of a clear vinyl sheet to create a
tense space for the user. When combined with
the layered digitally printed text on the sateen
fabric the anxiety installation creates a feeling
of being overwhelmed by the space. The calm
installation uses soft, gently layered fabric and
smooth bellowing stitches acting as a tranquil
space for the user. This provides them with a
space to breathe deeply and relax, away from
the information overload that they experience
from social media.
Materials //
Cables, thread, vinyl + sateen fabric
Contact //
[email protected]
PAGE 8
MAAD THESIS CATALOGUE 2016 // JEWELLERY
JENICA
FAN
To Bridge the Gap Between Traditional
Chinese Culture and Contemporary Jewelry
// A few years ago, I started a new chapter of
my life in Canada. Living in a western society
is very different from the life back in China.
It influenced me a lot, but Chinese culture is
still deeply rooted in my blood, and I always
wanted to introduce my culture to my jewellery
design.
This bridal jewellery collection contains the
love of the parents, the blessing for the brides,
and the connection between eastern and
western culture. The jewellery pieces act as a
bridge to connect traditional Chinese culture
and contemporary jewellery design, by using
Suzhou embroidery techniques, Chinese symbols, and geometric designs.
Materials //
Sterling silver, silk, silk thread, pearl
Contact //
[email protected]
PAGE 10
MAAD THESIS CATALOGUE 2016 // JEWELLERY
MASHA
GABRIELEVA
Neostructivism // Experimenting with the
stylings of Russian avant-gardism, Masha’s
vision is to have the beauty of each piece
realized in the undeniable dynamic, between
shape, color, and texture. She is drawn into the
interplay between the defining lines of geometric shapes and the striking bold colors of
the Russian constructivism (black, red, yellow,
blue). This jewellery collection is intended to
create a symbolic connection between the
past and the present. Inspiration for this collection arises from the resonating harmony born
from the intersection and overlay of rectilinear
lines. Each piece tells a sophisticated story of a
stage in technological evolution. Through the
usage of multiple woodworking techniques
Masha aspires to elevate wood as a material,
and proves that it is versatile and has valuable
qualities to be successfully used in modern
jewellery design. The collection focuses both
on high quality finish and contemporary design meant to be worn effortlessly within any
contemporary urban setting.
Materials //
Plastic, metal, stones and wood veneer
Contact //
[email protected]
PAGE 12
MAAD THESIS CATALOGUE 2016 // JEWELLERY
SHIN-YOU
HOU
The Paths of Magic // Shin-you’s thesis seeks
to provoke the audience to contemplate how
magic is integral to humanity because of its
functions as a narrative production device
and a problem solving tool. He has created a
magical toolkit that is grounded by his interpretations of magical practices across cultures
and his own experiences with Taiwanese folk
religion. Through this toolkit, he is focused
on contextualizing and merging the practices
from different histories and cultures while
contemporizing these rituals. This is to allow
people to understand the context of the practices and incorporate them within their own
lives. When used in this context, the toolkit
can be used to produce narrative by problem
solving the user’s life experiences.
Materials //
Wood, sterling silver, bronze, copper, silk cocoon,
salt; animal parts, thread and bees wax
Contact //
[email protected]
Website: [email protected]
PAGE 14
MAAD THESIS CATALOGUE 2016 // JEWELLERY
CAITLIN
JEFFREY
Unlocking Dyslexia // Caitlin Jeffrey’s thesis
work describes her experience with dyslexia.
Dyslexia is defined as a neurological disorder,
which hinders the acquisition of reading and
writing skills despite intellectual ability. This is
not due to lack of motivation or effort. Recent
science has proven that dyslexic brains operate differently when processing language.
She produced three containers, which have
sliding puzzle pieces that can be manipulated
to spell different words. Each puzzle looks at
phonological processing; the ability to turn letters into sounds and slows the process down
through the physical movement of each puzzle
piece. Challenges such as tediousness and
the need for extended time, while bringing to
light areas in which dyslexics excel. The puzzle
pieces and containers are fabricated out of
silver and adorned with glass enamel. Each
piece depicts a scene from a pond with floating water lilies and lily pads, which are inspired
by her experiences in Muskoka and her love
for nature.
Materials //
Silver, glass enamel
Contact //
[email protected]
PAGE 16
MAAD THESIS CATALOGUE 2016 // JEWELLERY
DOHEE
JUNG
For the Little Prince, The Little Boy That
Was // Children’s literature often provides
messages and inspiration in life to adults. A
lot of children’s literature is recommended to
reading again once after they have grown up,
as they understand different aspects
depending on one’s experience and
interpretation. “The Little Prince” by Antoine
de Saint-Exupery is a very well written story
that is recommended to both children and
adults, meaning that it appeals to all ages.
“The Little Prince” does not focus on one
specific topic or message but
it talks about life overall, the people that
each individual meets and the relation
between them, various feelings that we feel;
love, sorrow and much more. Jung’s body of
work narrates “The Little Prince” through
pieces that each use different materials. Each
material has been explored in a way that
could best describe the details of the story.
Each piece is illustrated and made in a way
so that audiences could think about the story
of The Little Prince, and the message that
they received from the author.
Materials //
Brass and copper
Contact //
[email protected]
PAGE 18
MAAD THESIS CATALOGUE 2016 // JEWELLERY
KENNETH
KWOK
Enshrouded // is a collection of 3D modeled
creatures mainly inspired by Gothic style gargoyles. The creatures represent an attempt to
describe the journey of conquering one’s fear
of the dark.
The battle between one’s self and their phobia
is a long and brutal journey. Often misunderstood by others, it is an undertaking that,
most of the time must be conquered alone.
Nyctophobia, otherwise known as the Fear of
the Dark, is no exception. It is the time during
our childhood that makes it most difficult to
express our concerns of the dark. From that
point on, the journey becomes easier for most,
but for some, the nightmare continues.
Materials //
Nylon, sandstone
Contact //
[email protected]
Instagram: @_kennethkwock
PAGE 20
MAAD THESIS CATALOGUE 2016 // JEWELLERY
ANNE
KYUNG-JIN LEE
My Home, My Identity // presents collaborative art-oriented jewellery pieces that
showcase the cultural spirit of Korea; inspired
by visual and cultural aspects of traditional
architectural elements of a ‘Hanok’ house and
reinterprets them with personal contemporary
aesthetics and meanings. The development
of the work is meant to reflect the cultural
identity of the artist and symbolizes the feeling
of belonging within the intermingled cultural
society. Throughout the exploration of the
essential traditional materials and the structure
that builds the ‘Hanok’ house, the manipulation and reorientation of each element were
engaged to construct new formations within
the context of wearable jewellery pieces. The
collection of jewellery involves a combination
of the 3D printing techniques and traditional
materials such as ‘Hanji’ paper to challenge
the progressive development of materials and
forms while it still preserves the traditional
beauty of Korea.
Materials //
Walnut wood, sterling silver, brass and Hanji paper
Contact //
[email protected]
PAGE 22
MAAD THESIS CATALOGUE 2016 // JEWELLERY
CHERRY
LIANG
Depleting Decadence // emphasizes the
continuous damage, and disappearance of
the coral reefs. Decadence has contradicting
meanings of referring to a state of deterioration, as well as an indulgence of luxury. Coral
has been often used in jewellery in the past,
and present. It is a luxury, however, this luxury
led to the decaying state of many coral reefs.
The wearable sculptural jewellery pieces are
visual representations of healthy, diseased, and
bleached corals, which simulate a coral reef
environment. The use of alternative materials
in the Decadence Series is a path to an ethical,
and sustainable practice.
Materials //
Sterling silver, flocking,
cubic zirconia
Contact //
[email protected]
Instagram: @_cherryliang
PAGE 24
MAAD THESIS CATALOGUE 2016 // JEWELLERY
CAITLIN
MCCONACHIE
From My Mother’s Land // is a part of Caitlin
McConachie’s path to self-discovery and
understanding more of her Croatian heritage.
Growing up she felt disconnected from her
mother’s family, only really knowing of them
through stories that were told to her and her
brother. She found interest in the folklore and
traditional customs of her heritage, which has
been a major influence in her creative works.
Inspired by one of her favourite toys growing
up; Caitlin’s thesis captures moments from the
stories that were told to her at a young age,
housed within containers that are reminiscent
of traditional Croatian licitar hearts.
Materials //
Copper, silver, plastic + mixed media
Contact //
[email protected]
PAGE 26
MAAD THESIS CATALOGUE 2016 // JEWELLERY
LAURA
MITCHELL
Remember Every Step // Wanderlust is an
amazing thing, it overtakes you and inspires
you, but how do you hold on to all of those
amazing places you have seen? This line
of jewellery captures the moments Laura
has spent walking around the many streets
and paths of far off countries. Each piece is
uniquely inspired by the places she has visited.
The jewellery is made with many different materials, including items Laura picked up while
travelling. The boot print patterns continue
throughout the line and each boot tread is the
map of a particular location she explored.
Laura has always had a passion for travel and
exploration and will continue this line as she
discovers more of the world. Her feet are
always taking her in new directions and these
jewellery pieces can now be carried with her
wherever she goes.
Materials //
Sterling silver, wood, paper, lava rock,
leather + found materials
Contact //
[email protected]
Website: lauramitchelldesigns.wordpress.com
PAGE 28
MAAD THESIS CATALOGUE 2016 // JEWELLERY
HEEJIN
NAM
Alternative Simulates // Heejin Nam is
concept based jewellery artist studying at
OCADU. Her thesis “Alternative Simulates”
begins with the most organic of human expressions-irony.
She contests the value of precious stones by
substituting the element with sub-par materials. In this conceptual design, concrete and
felt are used as proxies for precious natural
gemstone. With careful analysis, the viewer
will notice a plethora of imperfections in the
felt and concrete pseudo stone. Overall, the
artist captures the antithesis of the meaning of
jewellery - ironic worthlessness.
Materials //
Concrete, felt
Contact //
[email protected]
PAGE 30
MAAD THESIS CATALOGUE 2016 // JEWELLERY
JANICE
NG
Internal Pace // Internal Pace is a series of
wearable art that embraces an individual’s
perception of time. The sense of time differs
between each person due to the fact that
we are all individuals, and each go through
different experiences effecting one’s perspective and emotional behaviour. Living in the
world of efficiency people tend to focus only
on how time can be fully utilized. But how can
one utilize time without connecting to our
emotional selves? This series underlines the
understanding of one’s self-awareness in our
own time pace, which enables us to enjoy every moment. This experience in time is broken
down into three stages of time perception
people encounter on a daily basis, they are
referred as Merge, Tremblant and Gyrate.
Each stage showcases a significant movement,
using the momentum of the body as a force
to translate a pace in time. Internal Pace is a
conversation starter for audience to think and
reflect on their pace in time, when perceiving
the diversity in movements within each piece.
Materials //
Sterling silver, brass, acrylic, water, colour dye, oil
Contact //
[email protected]
PAGE 32
MAAD THESIS CATALOGUE 2016 // JEWELLERY
VANESSA
RAQUEL
Spatial Spectrum // Spatial Spectrum is a
collection of avant-garde wearable art that
offers a protective barrier between the wearer
and their environment, loosely referencing
weapons, shields and other methods of
protection. By creating a strong architectural
space for the self, the wearer is guarded from
their surroundings, extending their personal
space. Repeated lines break apart the wearer’s
environment and become a triangle pattern
creating movement throughout the piece.
The triangle is a symbol of strength and
durability and is also referenced in the form.
Together, Spatial Spectrum explores barriers
in a colourful and playful way, challenging the
negative ideas associated with boundaries.
Materials //
Sterling silver, powder coated brass, dichroic Film
Contact //
[email protected]
Instagram: @Vanessa___Raquel
Website: vanessaraquel.ca
PAGE 34
MAAD THESIS CATALOGUE 2016 // JEWELLERY
KRISTIE
WONG
Paper Potential // Kristie Wong is an artist
and designer who investigates paper pulp as
a possible material to produce wearable body
adornments. She focuses on using unbleached
and bleached abaca paper pulp because of
the high shrinkage property the fibre offers.
Her pieces explore the different possibilities
paper pulp can be used and what it can
become.
Kristie compacts, rolls, wraps, and she manipulates paper pulp into specific forms. However,
the true beauty does not come from the form
Kristie gives it, but from the shrinkage of the
material as it dries. It is her goal to use paper
pulp in ways that result in looking nothing like
paper.
Materials //
Bleached abaca paper pulp, unbleached abaca
paper pulp, brass wire
Contact //
[email protected]
PAGE 36
MAAD THESIS CATALOGUE 2016 // JEWELLERY
ZOE
ZI YI YIN
Visual Flavour // Essential to food plating, it
offers great artistic sense to express creativity
and it arouses people’s great appetite for the
dish they are eating. Zoe’s thesis is a jewellery
series that is inspired by artful food plating
and expresses the relationship between visual
flavour and the sense of local in the context of
the new Nordic cuisine. Nordic food culture
is very much about simplicity, freshness and
purity, where the main ingredients flavour the
dish. Her series associates the locally produced
ingredients and the changing landscapes in
Nordic regions. The intension of her design is
to reinterpret the food plating photographs of
the new Nordic dishes to create abstract food
patterns and forms by hand drawing, and then
transforming the two-dimensional drawings
to the three-dimensional wearable jewellery
forms.
Materials //
Sterling silver, corriedale wool
Contact //
[email protected]
Website: zoeyindesign.com
20
16
MAAD THESIS
C ATA L O G U E
FIBRE
TABLE OF
CONTENTS //
FIBRE
Foreward & Acknowledgments
4
Emma Aurelia
6
Anna Buck-Viksne
8
Lekha Dookie
10
Kadicha Foster
12
Jessica Fung
14
Amanda Gresik
16
Sonam Yangzom Gyanatsang
18
Michelle Marin
20
Shiva Moghaddasi
22
Stephanie Osborne
24
Egan O’Sullivan
26
Emma Tacq
28
Jessie Waize Wan
30
Julia Yeh
32
FOREWARD
At first glance, the work of the 2016 Material Art & Design
thesis class will seem to be another strong collection of
wearable, sculptural and experimental works inspired by
a passion for manipulating materials into new forms. On
closer inspection, a deeper engagement with the process
of discovery will present itself.
Each Material Art & Design student is an explorer of materials and concepts with their own map and chosen territory. This year four territories or themes emerged to captivate the students’ imaginations, themes that I will refer to
as narrative, time passing, transformation, and the body.
The first theme, narrative, included works that considered
questions of personal identity – through cultural heritage
and symbolism or in telling stories of struggle and fantasy.
The second, time passing, included investigations of memory, waiting, pace, ritual and slowness. In the transformational works, materials changed from one state to another
as students reimagined light as form, repurposed waste,
reinvented food and reconsidered our place in the natural world. Finally, within the theme of the body, students
investigated accessible, multipurpose and alternative fashion alongside sculptural garments that questioned the nature of clothing.
Interestingly, the combination of narrative, time passing,
transformation, and the body could be used to define
what we experience when we make craft. On behalf of
the Material Art & Design faculty, congratulations on your
journey so far. We can’t wait to see where you go next.
Dorie Millerson //
Chair, Material Art & Design
ACKNOWLEDGMENTS
Catalogue Committee
Vanessa Raquel Castellino
Dohee Jung
Janice Ng
Zoey Zi Yi Yin
Catalogue Design
Katelyn Powers &
Jazeen Hollings
Photography
Nicholas Kalimin
Printer
CJ Graphics
Chair of MAaD
Dorie Millerson
PAGE 6
MAAD THESIS CATALOGUE 2016 // FIBRE
EMMA
AURELIA
Into the Blue and Back (Again) // Utilizes textile,
motors, and soundscape to create a contemplative
environment. The artist uses water as a symbol of cyclical patterns, physical and psychological reflection.
The indigo yardage is installed on a slowly rotating
conveyor belt. The illusion accomplished illustrates
falling water. The adjacent hanging piece consists of
dyed, translucent material installed on a track of staggered motors that lift and lower each independent
layer. In motion, the layers create ever-changing overlaps of colour intensity and depth. This piece gives
an ambient impression of the horizon line of a large
body of water or changes in tide. The kinetic components reflect motion in the process of making. The
woven waterfall is reminiscent of a weave advancing
over the front beam of a loom. The panels of translucent material resemble the moving shafts on a loom.
These subtleties embedded in the work express the
connection between nature and maker. The artist has
collected sounds from the natural environment, and
woven them with vocals and instrumentals creating
lush soundscapes that compliment the serenity of the
moving textiles and support the connection between
maker and environment.
Materials //
Cotton linen, indigo dye, silk organza, acrylic
dowels, motors
Contact //
[email protected]
PAGE 8
MAAD THESIS CATALOGUE 2016 // FIBRE
ANNA
BUCK-VIKSNE
A Part Of; Apart From // is a collection of
garments that address the dual quality of
clothing. In creating a space for the body,
clothing negotiates a person’s interaction with
the world. Clothing acts as an intimate layer
between the wearer’s inner and outer self,
both protecting and separating the wearer
from his or her environment. The garments’
plush, dense, and tubular nature emphasizes
clothing’s role as a boundary between the
space within and the space around a body.
Exhibiting the sentiment of clothing, the
garments bring dimensionality to the wearer’s
internal-self, and mediate between the internal
self and external world.
Materials //
Nylon, Spandex, Polyester Filling
Contact //
http://www.annamarijka.com
[email protected]
PAGE 8
MAAD THESIS CATALOGUE 2016 // FIBRE
LEKHA
DOOKIE
A Transplanted Lotus // Lekha Dookie explores the
complex nature of her hyphenated cultural heritage
(Indo-Caribbean-Canadian) in her sculptural series,
which addresses the dialogue between ethnic identity
and global migration. The series of embellished
paper sculpture showcases the evolution of cultural
representation through corresponding geographical locations: Northern India (ancestral homeland),
Trinidad (birthplace) and Canada (residence).Utilizing
the compass design as the primary form and the lotus
motif as the basis for the embellishment, each sculpture speaks of the adjustments required to grow and
develop in each new environment. Combining traditional textile pattern drafting and paper engineering
methods to create a variety of modular elements out
of translucent paper stock, thus creating objects that
showcase degrees of dimensional growth - symbolic
of expanding global awareness. The abstraction
of the lotus design on each piece correlates to the
adaptive nature of expansion; from 2D to low relief
3D hollow-form and finally a 3D multi-form sculpture
and further adds to the mutable nature of change.
Materials //
Translucent paper stock
Contact //
[email protected]
PAGE 12
MAAD THESIS CATALOGUE 2016 // FIBRE
KADICHA
FOSTER
Rooted Rows // “I feel rooted to my ancestors through the design in my rows”. –Kadicha
Foster. Rooted Rows is a collection of gowns
designed by textile artist Kadicha Foster.
The gowns discuss her on-going journey and
research into her family’s heritage. Foster’s
research has led her to designing three gowns
inspired by traditional braid styles found
throughout Africa, in relation to the modern representations of these hairstyles. The
designs have documented the development
of three hairstyles; cornrows, twist and box
braids. These three hairstyles are used as a
base for many intricate styling methods. The
gowns were designed to have the appearance
of braided Afro textured hair. Each garment
was designed with a different skin tone in
order to give them a scalp. Foster’s designs are
meant to present the beauty and elegance of
Black hair through texture and braid pattern.
Materials //
Corriedale Wool Roving, alpaca merino, synthetic
yarn, jersey fabric
Contact //
[email protected]
http://kadichafoster.wix.com/textileart
PAGE 14
MAAD THESIS CATALOGUE 2016 // FIBRE
JESSICA
FUNG
Civilian // Civilian is an installation that addresses the issue of sexual misconduct within the Canadian Armed Forces. Jessica has incorporated
the concept of camouflage with hand-knitting
and military uniforms to create a metaphorical
connection between the issue and the
representational installation. Jessica wants to
potentially expose this pandemic and to
criticize the lack of military efforts to eradicate
and provide appropriate protection for CAF
members by revealing the disconnected relationship between military and civilian culture.
Materials //
Acrylic yarn, Canadian armed forces
CADPAT uniforms
Contact //
[email protected]
PAGE 16
MAAD THESIS CATALOGUE 2016 // FIBRE
AMANDA
GRESIK
The long, tedious task of waiting…//
Many people have experienced what it is
like to go into a hospital waiting room, either
for themselves or to accompany a friend or
family member. While trying to pass the time
by flipping through magazines and filling
out forms, it is hard to not feel anxious and
overwhelmed. Amanda’s work is based off of
her own experiences and explores the tedious
nature of being in a waiting room.
She uses ‘Whitework’ which is a traditional
type of embroidery that has been practiced
throughout history to document and celebrate
important events in people’s lives. With white
linen fabric and cotton thread, she re-creates
the waiting room environment, focusing on
items one gathers while staring at the nearby
clock. Throwaway paper objects turn into
heirlooms, documenting an important though
tedium filled chapter of her life.
Materials //
White linen fabric and white perle cotton thread
Contact //
[email protected]
PAGE 18
MAAD THESIS CATALOGUE 2016 // FIBRE
SONAM
YANGZOM GYANATSANG
“Khata” - Contemporary Designs Inspired by
Tibetan Culture // Is a creation of contemporary design patterns digitally printed onto silk
georgette to produce a collection of scarves.
The artist’s interest in fashion and surface design
was inspired by the history of Tibetan jewellery,
stones, symbols, landscape, architecture and
clothing. It gives the artist an opportunity to tap
into her ethnic cultural background by looking
back into her own family, identifying significant
symbols, rituals or items passed on through the
generations, specifically focusing on jewelry made
of gold and precious stones that are of importance to the culture. The process of finalizing the
designs included the use of digital photography
to refine and create patterns, and stitching. The
end product for the digital design is a scarf significant to a “Khata,” in Tibetan culture, a traditional
ceremonial scarf that symbolizes purity and compassion, made of silk. It is offered with respect for
well wishes as a blessing during occasions. The
collection is inspired by Tibetan traditional culture
with the combination of the artist’s interpretation
and style to design through creativity.
Materials //
Silk georgette, Silk crepe de Chine
Contact //
[email protected]
PAGE 20
MAAD THESIS CATALOGUE 2016 // FIBRE
MICHELLE
MARIN
Please Knit Responsibly // is a collection of
hand-knit accessories for the home. It consists
of several unique pillows and a throw whose
colourful surfaces and interactive textures
invite her audience to engage in a tactile
and visual manner. As a contemporary maker
living in a metropolitan environment, Michelle
created Please Knit Responsibly as a way of
reclaiming traditional crafts that are often
overlooked by the modern day consumer. Michelle’s creative practice began with free flow
creation and ended in conscious reflection, a
strategy that best allowed her work to evolve
into one-of-a-kind pieces. As a responsible
maker mindful of the durability and lifespan
of her products, Michelle chose to knit with
ethically and locally sourced Canadian wool.
The result is a collection of knitwear items that
proposes and fosters a transition from a factory
made home to one of known-origins. The
collection is placed in a shared living space to
invite interaction from the curious viewer and
to nurture a dialogue of the prevalent themes:
labour, intent and material.
Materials //
Briggs and Little 100% Wool
Contact //
[email protected]
www.michellemarin.net
@thewoolambassador.
PAGE 22
MAAD THESIS CATALOGUE 2016 // FIBRE
SHIVA
MOGHADDASI
Inclusive Design:
Arthritis Friendly Fashion // Statistics show
that more than one-third of people being
affected with arthritis are working-age women
under age 65. People with severe hand arthritis have challenges dressing themselves and
frequently need others’ help especially with
closures (buttons, zippers, belts, etc.) I have
focused on strategic design in my contemporary fashion line eliminating restrictions and/
or replacing them with accessible solutions
for an inclusive design. My designs include
fashionable yet easy to wear clothing and/or
using magnets or Velcro amongst other creative design solutions. Furthermore during my
artistic process, I’ve applied historic elements
of 1920’s Western fashion such as “godets” to
my clothing designs for a distinct stylish look.
All fabrics’ surface designs are my original
hand drawn creative work inspired from
the 13th century Iran Safavid artefacts and
arabesque motifs and are digitally printed on
a variety of fabric choices such as silk, cotton,
linen, etc. for this contemporary fashion line.
Materials //
Magnets or Velcro, silk, cotton, linen
Contact //
[email protected]
PAGE 24
MAAD THESIS CATALOGUE 2016 // FIBRE
STEPHANIE
OSBORNE
Denim: Re-Work: Repurposing denim in
a meaningful way. // Denim isn’t sexist, it’s
not ageist, it has no race, and it transcends
generational barriers. Denim has developed
a rich, loved reputation. I am marrying the
environmental, personal and consumption
elements of denim into an art piece to further
understand our obsession with jeans and
fashion. I’m teasing out all these ideas that
are intrinsic to the material, that are woven in
so deeply at times we don’t stop to see it. It’s
the story and the ideas these jeans carry that
make them so human, so alive. Yet jeans are
superficial; they are part of an industry selling
you a want. They are also superficial because
they’re resting on the surface on your skin and
protecting it. It’s within this protection that the
story of wearer and cloth begins to unfold.
That is where the magic takes place, where the
authenticity of wear is evidence of a life lived
within these jeans.
Materials //
Denim
Contact //
[email protected]
PAGE 26
MAAD THESIS CATALOGUE 2016 // FIBRE
EGAN
O’SULLIVAN
The End is Near // The End is Near is a
futuristic, post-apocalyptic installation made
with reclaimed cast off materials. The project
attempts to draw attention to present day
consumption and textile waste. The costume
was made of more then 50 white stuffed toys,
and the tent made of more then 80-second
hand knitted sweaters that Egan collected. The
installation is the imagined scene of the future
when the world we know has gone and there
are no longer any humans left on the earth.
Egan wanted to make a visual impact with her
project by showing the massive amount of
items that are being thrown out every day.
Materials //
Knit sweaters, stuffed toys
Contact //
[email protected]
PAGE 28
MAAD THESIS CATALOGUE 2016 // FIBRE
EMMA
TACQ
Within the Landscape // Within the Landscape is a series of knit garments accompanied by a film displaying their use. They are
a social commentary on our connections to
the flora, fauna, and ecosystems that make
up our planet. Animal fibres are undyed and
naturally dyed using plant materials to form
knit stitches that connect together to create
a metaphorical landscape, which we place
on our bodies when necessary. We make the
landscape accessible and share with others.
We pay homage to the landscape through
the sacred rituals of wear. We do not try to
keep the landscape for ourselves or monetarily
profit from it. We take care of the landscape
and the landscape takes care of us.
Materials //
100% Wool, 100% Alpaca yarn, plant-based dye
Contact //
[email protected]
PAGE 30
MAAD THESIS CATALOGUE 2016 // FIBRE
JESSIE
WAISZE WAN
Mighty Frills // Jessie Wan’s fashion collection is inspired by the Harajuku fashion,
which is an alternative street fashion origin in
the Harajuku district in Japan. It has a sweet,
whimsical and colourful aesthetic. Her apparel
collection is intended for fashionistas who want
to be rebellious and stand out confidently in
sparkles and ruffles. They believe that frills and
pastels can be both strong and empowering.
For Jessie’s designs, she experimented with a
heat bonding technique done with clear fabric
fusing and flat ornaments to create a piece of
pastel star themed garment. The other pieces
in the collection included screen-printed design motifs of jewel and necklace lace and ruffle. These motifs are illusions on fabric, which
references the ribbons and floral wallpaper
designs from the 19th century. The feminine
and elegant motifs are major influences to
her designs.
Materials //
Polyester chiffon, clear fusible fabric gold confetti stars
Contact //
[email protected]
jessie-fibre-heart.format.com
PAGE 32
MAAD THESIS CATALOGUE 2016 // FIBRE
JULIA
HUNG YEH
“Trashformation” Cinderella Edi. //
Julia was inspired by different ways of material
manipulation, especially in wearable art. She
has created three costumes made with re-purposed materials that represent the characters
Cinder, Lady Tremaine and Cinderella from
the fairy-tale Cinderella. In the Cinderella
story, “magic wand” can turn any objects into
wearable costumes. This concept of “transformation” has influenced the design of Julia’s
garments as well as her aim of turning trash
into couture. Julia has transformed waste ma-
terials, usually thrown away in an instant, into
complex wearable dresses. Julia transformed
plastic water bottles, plastic bags, bubble
wraps, and bicycle inner tubes into valuable
and unique garments
Materials //
Plastic water bottles, plastic bags, bicycle inner
tubes, and bubble wrap
Contact //
[email protected]
http://julia-yeh.format.com/julia-yeh