Justification of Environmentally Sustainable Practice and Setting my Limitations




I would first like to talk about this image as it encapsulates the essence of all that influences me. This is what I know as the moors, the Caldicot Levels, a childhood playground. As you can see in the image is of the Second Severn Crossing within a rural setting. To the left there is Sudbrook pulp mill but hidden beneath this view is a great feat of engineering the Severn Tunnel. This image is a contradiction both industrial and agricultural juxtaposed against each other yet in my eye they live happily together.



My greatest source of inspiration are my parents Margaret and David Counsell. This image is taken at their 50th wedding anniversary party in October last year. They both left school at the aged 14, which was the leaving age at that time. My father couldn’t read when he left. They are self-educated, gaining ‘o’ levels via evening class and attending Harlech College in the late 1970s to improve their lives. I remember this time quite vividly as I was about 8 at the time. Unfortunately my Dad failed his course, but despite this and other life issues they never gave up.

Through observing my parents the things I admired most has been their resourcefulness, which has its roots in the penniless rural life and WWII’s make do and mend. They have over the years turned their hands to creating and mending clothes; home improvements and maintenance, keeping my sisters and I warm, clothed and fed.

On family outings we visited museums with agricultural and industrial artefacts giving me an appreciation of mankind’s achievements but holding nature and farming lifecycles in my heart. I enjoy marvelling at what nature produces and ‘man’ creates.



With this as my background I have approached my creative works and last summer I completed a BA in a Fashion hons. degree, which climaxed in a 6 outfit cat-walked collection by professional models. I was thrilled to achieve selection to show at London Graduate Fashion week in 2015 with an environmentally sustainable collection. I received many positive comments from audience members that ensured I had reached my demographic, the target being a working mother wanting to have an environmentally sound choice of clothing.



Ideas for my collection was drawn from personal experience and the urban myth that Albert Einstein had 5 identical suits to allow his brain to relinquish thoughts from the mundane and enable focus on scientific matters. As a working mother with very little time to think about what to wear it is important to have a reliable work wardrobe that can deliver multiple style options. The capsule wardrobe concept delivers this flexibility increasing options through some garments reversible nature.


Initial design inspiration came from two images one of nature and one of architecture. The colour palette came from the nature photograph, which evoked thoughts of Cornish coast smugglers and the corruption that bled though society. While ideas of metal finishes, strength and decorative seams and clean lines were inspired by the interior view of the Dali Museum, which celebrates it’s contemporary construction revealing some of it’s bones and highlighting them. In this collection the two conflicting images merge as clean unfussy line with dirty tweeds and frayed edges whilst metallically embellished using rustic embroidery. Garment shape was achieved through fabric manipulation on the stand using second hand clothing and toiling to correct style lines and fit.



As part of my previous course I researched for a live brief for FAD, looking to the future and its influence on fashion. Through this investigation these facts emerged.

These facts have shocked me and will affect my children not my great, great, great, grand-children. This knowledge has influenced my subconscious and affected my choices on approaching my practice ideals. Leading to an ever-increasing desire for environmental solutions and becoming aware of the potential aesthetic outcome issue.


Jumping to this image of mineral extraction fields, part of a 40,000 acre site near Utah, in a series of aerial photographs called ‘Terminal Earth’ by David Maisel. I have used this image before in my 1minute 1 image speech at the beginning of this module. Although I have moved on from wanting to completely replicate it, it is still of great significance. I have pulled back from the image and examined what it is of and used this to fuel my further research. Analysing how this could be relevant to my direction and chosen field of practice. It connected to textiles in the form of patchwork, reflecting on this Dolly Parton’s song ‘My coat of many colours’ came to mind.


This journey of discovery has led me to consider why people would want items made from upcycled second-hand fabrics and the unprocessed nature of using other’s fabrics and designs? After further reading and a tutorial I relinquished trying to retain the Western cultural connections to read about Saki-Ori, Sashoki and Wabi-Sabi.


The terrain climate and class gap has had a significant influence on Japanese clothing as with many cultures. In Japan this is apparent when looking a rural people such as farmers and fishermen who require warm durable clothing. Originally making use of bast fibres both gathered and cultivated. These fibres was spun and woven in to cloth often selling the best quality to improve their lot.   Although low in cost this cloth lacked thermal qualities and was often layered which render the garment difficult to move around in. The introduction of cotton from China in the 5th and 6th centuries brought a warm flexible fibre for the people. Its use was slowly taken up but as a new technology was also expensive. There was already a recycling system in place for refined cloth rags and the cotton followed being sold by merchants.


This image is taken from the book Riches from Rages loaned to me by Tim Parry-Williams. The work vest is constructed from woven strips pieced together using the technique saki-ori. A method where second-hand textiles are cut into strips, woven as weft through warp threads of bast fibres. Cotton typically forming the weft because of the size of pieces available and lack of durability while the bast fibre for its strength and length remaining the warp. Apart from washing and shredding the second-hand material remains untreated and the bast fibres are un-dyed as this is typically difficult and therefore saves time and energy as well as water and chemicals.

The recycling nature of this technique caught my attention at first, reading on I came to understand that the strips are woven in specific widths and lengths to suit the garment size and shape. This concept intrigues me and I would like to experiment with the idea of designing a garment and only weaving the specific shape and length to create it. This is a new research path that needs further investigation and discussion.


Also in Riches from Rags was another technique imbedded in ‘need’ because of poverty is sashiko a darning, patching and reinforcing stitch. The work coat here is made by layering woven cloth and stitched through with a simple running stitch. This technique is similar to western patching and darning but has evolved into geometric complex patterns that have moved into luxury products.


This Image is to highlight that when available whole pieces of cloth were used and shows a history of fabric within a garment, which does not hide its heritage. It was originally a sail that had then been used as a curtain before being made into a work coat

The lyrics sing of fabric pieces stitched together, upcycling by a mother in poverty to care for her child whist imbuing the fabric with the sentimentality of memories. It connects my past and my future, bringing together, for a different need in reuse and value. Part of this realisation made me consider who would want to have these almost ugly products. This is where I read about wabi-sabi, a comprehensive aesthetic philosophy for design and life.


The words wabi-sabi in this form do not actually exist within the Japanese language but remain steeped in meaning and history. Its heritage is set in the tea ceremony and has become an aesthetic for design, philosophy and lifestyle. An ephemeral feeling or way that has its concept in beauty with a difference.


“Wabi-Sabi a beauty of things imperfect, impermanent and incomplete. It’s a beauty of things modest and humble. It is a beauty of things unconventional.”


A quote from ‘Wabi-Sabi: for Artists, Designers, Poets and Philosophers’ written by Leonard Koren


Using wabi-sabi as an aesthetic methodology will give credibility and reason to be unashamedly unrefined and demand its place in the world with no excuses. Sitting almost arrogantly waiting for the viewer to see its beauty, knowing it has been imbued with love of the planet and the techniques used to produce it.


This journey has been about ecological ethic of upcycling and reduced water consumption but the influences of my early years are still prevalent not just in the poverty and rural need but that of resourcefulness. I will have to work with the fabrics that I can gather and be inspired by it as well as transform it.


Moving onto the timetable, through an emergent research methodology and applying environmental ethics and wabi-sabi aesthetics. I will be exploring and experimenting with the techniques spoken of here together with solar dying and screen pigment painting. Choosing two dye techniques allowing me to experiment with colour and have some control of outcome while still applying environmental ethics. Pigment dyes will be used in a painterly fashion and experiment in colour, texture and application. The Solar dye method utilising found and gathered materials and dying in small quantities.

In the modules set for the rest of the year I will be discovering my market and how to promote myself better as a designer and maker. In year 2 I will continue studio practice and promotional efforts to climax in the masters project.



I will leave to view my references and a final word from my upcycling heroes.


I wanted to experiment with visible mending but without alienating my daughter too much.  I choose colours compliment the colours of the garment.  Stitching was a calming experience,  moment when everything around you becomes still or irrelevant. At peace with the process even on the point of anger when it becomes fiddly. Experience shows that  tranquility is the only way to sew.

Lessons learned froths experience is to better prepare and allow extra material for the turn under to hide raw edges thus relieving the the issue of fiddly narrowness on this experience.

Moving forward the experience will lead me to further experiments in visual mending but only as they arise. With each working skills and knowledge will grow adding the story of the garment.  This will increase the sentimental value and reduce the likely-hood of early garment discard.


This is the inside of the jeggins. Using blanket stitch to secure the patch which is a piece of an old tie.


Here’s the outside nearing completion. Tidying up the torn edges with blanket stitch revealing the textile pattern of the patch.


Finished and with the tools used.


Muse: The collection inspires project

Games and Pieces

I have always visited museums and have appreciated the time-capsuled artefacts and knowledge held within. The eclectic nature of the Holburne Museum collection is a pleasure to see. Brought together by Thomas Holburne, a man who collected the things that pleased him. The tour and close-up session attended by my year group and I was very informative and inspiring. As part of the tour the information that stirred my imagination was that the museum had formerly been the Sydney Hotel, gateway to the gardens. Used for a communial entertainment, a place for gathering, seeing and being seen.


In the close up session that followed I found myself drawn to two pieces, the Chancellors Purse and mother of pearl gaming counters, worn but still filled with inspiration. I was in awe of the craftsmanship. The Chancellors Purse made from gold wrapped threads and velvet, full of pomp and ceremony.



On closer inspection it revealed motifs and intricate stitch detail. I was surprised by the naivety of their representation, child-like. The angels on the boarder appearing like dolls



and the plump cherubs as if hand drawn by a child. Each exquisitely finished in twists of gold braid, couched and cabled into being.


The conversation that followed was of games and how it had changed with the rise of video gaming and the resultant isolation of individuals within their bedroom cells. Even so video gaming has introduced figurines that connect with onscreen characters that the gamer can take on adventures or race either alone or with online friends but strangely remain in solitude. Children and adult are enjoying this technological connection but in an attempt to reconnect in the physical world and take a break from technology people and families are reconnecting over board games. People united in play, enjoying each other’s company and par taking in friendly competiveness. This suggests there is still room for the traditional board game.


Board games a great way of uniting people to start conversation and give focal points to discussion, drawing people together for a purpose, uniting past and present. Bringing together these items, doll like faces, Sydney Garden entertaining, games and the museum’s late night events.


My proposal is for an interactive late night event in the café, using board games for an all inclusive activity involving young and old. I therefore will undertake to design and make either a selection of board games or multiples of the same for the event.




Here are three examples of old games probably played in the 1700s and probably date from before as in the case of the Nine men Morris. I have selected these to give a range in the amount of people that can play each game.


  • Nine Men Morris is a two player game of strategy aiming to disable your opponents ability to make a row of three men by removing pieces.
  • The Royal and Pleasant Game of Goose is said to be for an unlimited amount of players but in contemporary settings would likely be for 6 to 8 people. It is a game of chance with forfeit and rewards in a spiral format. First to the centre wins.
  • The Royal Game of Owl is a game of pure chance with limit of players restricted by the amount of counters available. End of play is when a player is left when all others have lost their counters or the one with the most at the end of a time period.


Using old games no longer in general use will add novelty, break the safety of expectation and place everybody on the same level as it is unlikely that anyone will have played these games before.


As games and gambling were important in Georgian times; value, worth and sentiment was formed in the boards and pieces themselves even if made from what was to hand they still became favoured items and travelled with individuals.


Through research into gaming pieces the playful quality of draught counters urging use of the stacking nature and interconnection revealed an interesting bump in the middle that was reminiscent of dew-drops on leaves which has a magnification quality that would lead to an interesting design turn.


Brining together knowledge of a previous Holburne exhibition, “Pickpocketing the Rich” and exhibition on souvenir paintings by up and coming renowned artists making a name for themselves as well as earning a living. Using Pickpocketing as a keyword, I reimagined smuggling and the hollowed out coins from a Police museum I saw as a child. This gave me the idea of hollow game pieces that could hold something fabulous or precious to be placed inside and make use of the magnification previously spoken of.


Displayed are photo manipulations in Photoshop using photographs from a close up session with the Chancellors Purse. Isolating details such as pearl beads, braided stitch and from the shield a motif lion. Generating imagery to place inside the game pieces. Continuing on here are experiments with acrylic lenses analysing aesthetic affects on produced imagery. It is my aim to use fabrics such as velvet with screen foils that will under go laser etching.


On this slide is the hand drawn technical design, which is then taken into illustrator to improve accuracy before the file is translated to the CNC router software to carve out the prototype pieces, which is also displayed here complete with acrylic lens, demonstrating the effect on imagery under magnification within the game piece.