With our society moving towards a future routed in environmental turmoil, we as a collective are trying to find a solution to reduce our effect on the environment. The effect that we have on the environment commonly occurs through the constant use of transport. As through either public or private transport, it produces a detrimental amount of carbon emissions. In fact, the carbon emissions produced by transportation are one of the highest pollutants of carbon emissions (at a local individual level). 

If we do not pay attention or attempt to reduce our effect, society will impose a dangerous and eternal mark on our green planet. However, in order for my product to be effective, I will need to ensure that the product is enticing to its target market. I’ll do so by designing the bike’s rear light to be aesthetically pleasing. This will be done through the application of varying lights and the ability for user-customisation; as the consumer would be able to have messages or small images engraved onto their rear light.

My goal is to assist in the limiting of these emissions through the development of a bike light. As the utilisation of a pedal bike has a minimal carbon footprint. This is the core positive effect that I am focusing on; however, cycling as an activity itself has countless other positive aspects. These include, an increase in both physical and mental health, a decrease in transport-related finances and providing an avenue for socialising: primarily through online cycling groups.

View the work.

I have always had an interest in wanting an end to starvation and food waste around the world. I have seen advertisements on TV about donating to children in places like Africa where innocent children are dying every day because of malnourishment. Watching these poor children, I instantly felt like they did not deserve the situation they are in. This brought me to the idea of trying to fix this problem on a small, local scale. I started to think about the problem in my own country and wondered what would happen if only some of these people came to Australia as refugees.

Working in your own garden is much better for your physical and mental health than merely buying supplies. I have designed a flat-packable garden bed for window sills in apartments. Making it more accessible for people to grow their own herbs or flowers at home, improving mental physical health. 

View the work.

My Major textiles project is a contemporary spin-off of traditional African garments, but still uses the significant aspects that make African clothing what it is.

With its bright bold colours and large and sophisticated patterns, the two-piece garment set displays a range of bright and powerful colours, like a blocked dyed orange, red, green and brown being the primary colours throughout with accents of blue, white, yellow and black.

The two-piece set consists of a tunic top that has a patterned cuff and collar, which was inspired by the jewellery that people of the Zulu tribe wear, while the more sophisticated patterns are displayed throughout the patchworked suit pants which also incorporate a satin polyester pocket lining for the wearer’s comfort. 

This project really allowed me to explore a style and colour scheme that I wouldn’t normally approach, but the use of style made this project an interesting and challenging project that kept me engaged throughout.

The patchwork technique came to me when thinking of a way to incorporate different colours and patterns into the garment, and then the playful off-centre seams allow the garment to have more depth and add an asymmetrical element that catches people’s eyes.

Watch the video of his Major Work here.

My Major Textiles Project is a long sleeve dress that has a fitted column structure with a sheer overskirt. The dress features hand-dyed silk organza flowers with beading, cut using the laser cutter that are placed on the sheer overskirt.

My dress also has a hand-dyed purple centre front panel which features gold beaded feather-like leaves. The fabrics that were used to create the garment belonging to the focus area of apparel were created using silk organza for the flowers, polyester organza for the sheer layers, and a thick satin for the main dress.

I was inspired by Claude Monet and his beautiful paintings “Waterlilies and Japanese Bridge”, including Water Lilies, Harmony in Blue (1917) and Nympheas Water Lilies (1907) from which I derived my colour palette of stone blue, mint green, teal blue, baby pink, orchid purple, sky blue, cadet blue and peacock green and heather purple. 

I was also inspired by the Haute Couture fashion designers Marchesa and Georges Chakra who influenced the silhouette of my garment, being a column, and having inspired me to have a polyester organza fabric outer layer on the garment.

I was also inspired to use the creative and innovative techniques of beading, laser cutting, and dyeing which were drawn mostly from the Georges Chakra Spring Summer 2020 couture collection and the Marchesa Ready to Wear 2016 collection. 

My final inspiration was nature and flora from Centennial Parklands which has been enhanced by the use of gold beading to implement my Montezuma cypress leaves in the middle section of the garment. Bee blossoms and Australian bluebell flowers have inspired the flower shapes on the sheer overskirt.

The best part of making my Major Textiles Project (MTP) was being able to bring my designs to life and seeing what I had envisaged actually coming together. I also really enjoyed being able to watch everyone else in the class make their MTPs and seeing everyone’s individual designs and inspirations.

What I found most challenging was definitely completing the portfolio as I have never fully finished one before, but after spending many hours working on it, it was definitely very satisfying to have completed.

Watch the video of her major work here.

My Major Work Textiles Project consists of a navy, draped skirt, a light blue scarf, and a periwinkle, structured corset. These garments create a cohesive and intriguing design through the tonal blue colour palette and the asymmetrical line created by the skirt and scarf.

It is made from cotton sateen, chiffon, cotton drill and polyester and belongs to the focus area of Apparel. My design was inspired by the Ralph and Russo Autumn and Winter 2018/2019 Couture Collections featuring a rich tonal colour palette and contrasting, intricate designs inspiring the contrasting and asymmetrical design seen in my MTP.

The monochromatic blue colour palette was inspired by Greek Culture including its architecture and the Evil Eye and is shown through the use of varied tones of blue. Ancient Rome Fashion seen through traditional designs such as togas, immensely inspired the highly draped, textured, and asymmetrical design demonstrated through the scarf and high leg slit, creating an elegant and romantic design. 

Watch the video of her major work here.

My major textiles project is a costume royal robe, made from silk and utilising creative and innovative techniques such as piping, appliqué, hand embroidery and pattern manipulation.

Nithaya Somsanith has influenced me with his incredible use of elements drawn from different time periods and eras combined, with embroidery showing a historical story fusing modern techniques and past fashion trends.

The culture of Mongolia has inspired me with its interesting use of patterns, vibrant colour palette, and points of emphasis within its art and fashion. The inspiration for my embellishments derives from the Renaissance era garments. Patterns from the Renaissance era provide a harmonious appearance with the use of Mongolian-inspired patterns. They mesh well with the colours inspired by the Nithaya Somsanith’s collections.

Watch the video of his major work here.

My MTP is a dress with a fitted bodice adorned with crochet ruffles and an asymmetrical and flowing skirt.

The dress features a fitted bodice with crochet ruffles along the right shoulder to accent and juxtaposes the deep v-neck of the design. My MTP also features a layered and asymmetrical hemline which has been ombré dyed to incorporate my historical inspiration of the Egyptian desert.

The bodice of the dress is made of polyester satin which gives the design an elegant sheen, while the crochet ruffle is made of cotton yarn as it is a main focal point of the dress. The multilayered shirt is made of a polyester chiffon, which has a matte feel and look, fitting with the Egyptian desert.

The yellow ombré dyeing is another dominant focal point of my MTP, as it further enhances the inspiration of the Egyptian desert. 

My first inspiration was the Resort 2021 Lovestruck Collection by the Australian designers Zimmermann. This collection features flowing garments made with delicate and vibrantly colored materials. Several of the garments in Zimmermann’s collection also feature multi layered skirts as well as ruffles on the neckline of the garments. This collection heavily inspired my MTP, and is where the initial inspiration for the delicate and multi layered skirt came from, as well as the ruffles along the neckline of my design.

The cultural inspiration for my MTP was the culture of crochet, which inspired the crochet ruffle along the right shoulder of the dress. I combined this inspiration with my contemporary inspiration of Zimmermann’s garments, many of which feature ruffles, to create an accent piece which enhances the deep v-neck of this dress.

The historical inspiration for my MTP was the Egyptian desert with the asymmetrical hemline and ombré dying reflecting the sand dunes.

 Watch the video of her major work here.

My Major Textiles Project is a Japanese-Inspired jacket with a contrast colour lining which uses several traditional techniques such as shibori dyeing and sashiko stitching, combined with contemporary silhouettes and lining.

It has a loose off-the-body silhouette, and has wide sleeves to allow for ease of movement. The contemporary inspiration for the jacket came from fashion designer Shinichiro Ishibashi’s 2020 Spring/Summer Collection, his use of boro patchwork and sashiko stitching inspired me to make them both prominent aspects of my garment. 

Boro patchwork is used throughout the garment and the patches are decorated with sashiko stitching. The collection also inspired the use of a loose off-the-body silhouette.

My historical inspiration is taken from the shibori dyeing techniques of ancient Japan which has been utilised since the 8th Century. I loved the rich blues and indigos and used them in my design.

The whole of my garment has been dyed to varying degrees. The Itajime technique, kumo shibori, commonly known as “the spider web technique” and the ne maki technique are used throughout the design.

I very much enjoyed sashiko stitching the patterns on top of the dyed patches. It was definitely the most time-consuming part of the process but the most satisfying, save the completion of the jacket. The real challenge was deciding which patches of dyed fabric would be used in the final product and how they would be arranged in a harmonious and aesthetically pleasing manner. 

Watch the video of his major work here.

My Major textiles project was composed of two separate garments, a jacket and a dress. These pieces were structurally elegant, encompassing silhouettes from the 1990s, mixed with a modern minimalistic chic movement. 

The dress is made from simple, white fabric, with contrast topstitching around the bodice, which emphasises the female figure. It is made from a polycotton blend, which is a lustrous and chic material. The jacket had a cropped straight fit, with grey and red plaid lining, which was self-designed on an adobe platform. 

This jacket has a symmetrical and structural appeal, mixed with the edginess from the 1990s. The biggest inspiration was both Oresund Iris, a contemporary designer brand, and the high-end streetwear fashion from New York mainly exhibited in the 1990s. Oresund Iris had inspired the contrast topstitching on the dress, as well as the outline for my jacket.

The New York element was inspired by the rich architecture, such as the Guggenheim Museum, which was displayed through the raised surface and depth of the contrast topstitching. Other buildings, such as the Flatiron, had inspired the symmetry in both my designs. 

I worked with many fabrics for the Major Textiles Project. The jacket was made from a stretch cotton drill, with polyester lining, coupled with medium weight woven cotton interfacing to add structural integrity. The dress was made from a polycotton blend and was lined with polyester. 

I definitely think the hardest part of this project was coming up with an idea that you didn’t want to change. There were various occasions where I didn’t like certain fabrics or aspects of my design, but in the end, I loved it. I thought it was very representative of my inspirations and my own style. 

Watch the video of her major work here.

I created a costume ballgown constructed with elegant silk sleeves, a structural fitted corset, and a bell-shaped skirt for my Textiles Major Work.

The visual adaptations of Louisa May Alcott’s Little Women (most notably Greta Gerwig’s film version in 2019) inspired the silhouette of my garment. I drew the pink monochromatic colour palette and flower embroidery design from Japan’s cherry blossoms (Sakura). Teuta Matoshi’s flower decorations and the Madonna corset pattern in her stunning gowns channel into my work.

I worked mainly with synthetics fibres; polyester in the corset, waistband, and top layering on the skirt, alongside nylon in the netting of the underskirt. Using cotton embroidery thread, I decorated my silk sleeves.

My most memorable moment of this process was working on my sleeves from 4pm to 6am straight (during the locked-down holidays). The most challenging part of completing my major project was developing the self-confidence to trust my judgement whilst working off-campus.

Please see a video of Mischa’s Major Work here.

My Major Textile Project is a form-fitting and imposing sheath dress, consisting of a black cotton sateen lining with a panelled bodice and a burnt hem. The outer fabric is a champagne satin polyester accented with silver and bronze.

The satin polyester has been heat-set and burnt into an irregular pattern to replicate the visual elements of natural decomposition. The heat manipulation process has resulted in organic burns, covering the entire garment. The burnt gashes and holes are accented by the black cotton sateen lining, which brings the intricate details to the forefront. 

I have been inspired by the front-women of the 1970s punk rock scene and their rejection of the status quo, implementing elements of their anti-consumerist and deconstructionist approaches in their fashion, into my own, through the use of degradation of fabric and experimentation and contrast of masculine and feminine.

I have also been inspired by the use of nature in both Alexander McQueen’s VOSS (S/S 2001) collection and the work of contemporary artist Louise

Richardson. Both their works use of elements of nature and organic form to create eerie and eye-catching visions of beauty. 

The course presented the freedom to experiment both in my practice and conceptually. I had the space and support to express myself and think outside the box (eg burning more than four meters of fabric to create my own unique texture).

There were challenges along the way, such as working with textured and irregular fabric, the contrast of thickness, flexibility, and strength made it extremely difficult to work with but it has resulted in an amazing and intricate visual aesthetic. 

Watch the video of his major work here.

For my Major Textiles Project, I created an outfit that consisted of a sleek and stylish shirt and vest set. I was inspired by the Maison Kitsune spring-summer 2020 collection, Australian native flowers, and 1970s men’s formalwear.

These inspirations were merged to create a set that has bold colour contrasts and striking shapes, to give an overall formal aesthetic, with subtle hints of streetwear influence.

Colour was hugely important in my MTP, between the yellow shirt, the black vest, and the pale blue flower lining. I dyed the shirt which was made from 100 per cent cotton fabric, to achieve the desired yellow colour.

The vest was also made out of 100% cotton, however, the lining of the vest was made from 100 per cent polyester. To create the pattern on the lining, I traced the flowers digitally on an iPad. I then turned this into a repeat pattern on illustrator and sent the file to a company to be digitally printed onto polyester fabric. 

The Maison Kitsune collection inspired the bold tubular silhouette of my garments, as well as the playful colours. Australian native flowers were featured inside the vest as lining. 1970s men’s formalwear heavily inspired these pieces, seen in the large collars, oversized buttons and the exposed zipper and ring puller combination. 

One of the most enjoyable parts of creating this set was the final moment when I completed the final stitch. Completing this major work from home proved to be a challenge; however, it made the process so much more rewarding, knowing that I actually sewed all of it myself.

The concept had always been in my head and seeing the vision become a reality was very exciting! The same thing goes for the folio of my MTP. Printing it off at Officeworks and sliding the pages into the folder, and holding it next to my garment was a very rewarding moment. 

Please see a video of Orlando’s Major work here.

For my Major Textiles Project, I have designed a reversible, top closure duffle bag with various designs digitally printed and displayed on the inside.

My inspiration is derived from cultural, historical and contemporary sources that have come together to create my body of work. My cultural inspiration is the military uniform, focusing on accessibility by pockets and the colours. The printed designs and embroidery on the inside of the bag are inspired by Dolce & Gabbana’s Alta Moda 2020 collection, which features intricate and bold designs.

The inspiration for these designs is underground culture, including graffiti and mural artworks. My historical inspiration has derived from the history of suitcases over the past two centuries.  

Please see a video of Tiger’s Major Work here.

My Major textiles project is a heavy woolen Trench Coat with two types of lining, inspired mainly by Brutalist Architecture.

The monolithic and powerful designs of Brutalism have inspired the imposing elongated silhouette as well as the strength of line throughout my garment. The drape of the garment accentuates the grandeur of Brutalism whilst the intricate detailing encapsulates its complexity. The tonal grey colour palette and geometric design of the garment are also inspired by Brutalism and its large-scale use of concrete.

My two other inspirations, the 2016 HYKE Fall/Winter collection (Japanese utility womenswear label) and Soviet Russian Military inspired the material choice, the asymmetrical cut, and the utilitarian aesthetic of the garment. 

I worked with Melton Wool (Nylon Blend), Polyester, Bemsilk, and Non-woven Interfacing fabrics.

The best part of making my MTP was understanding the intricacies of the textile industry. My Trench Coat and I have been on a long and stressful journey. It is my textile baby and despite my lack of experience as a parent and/or textile designer, it has become something I am proud of. The most difficult part of the course was having to overcome seemingly unbeatable problems often found five minutes after solving the previous ones.  

Please see a video of Wynton’s Major Work here.