The Cold War period was the time of a geopolitical tension between the Soviet Union and the United States. The forty years of the competition between powers were also a great inspiration for a space travel.
The futuristic poster I designed has elements of 1950s styling. The characteristics of the typeface were often used on American advertising posters and illustrations. It is also the time when American society was moulded into mass consumers through the industrial design. The style equals function.
Travelling in space is possible! Three rockets are leaving the planet Mars heading towards the planet Earth. The Moon is in between them. To emphasise The Cold War period and the clashes between the East and the West on the top part of the poster, I used the Russian language, which translates to Aeromars. Go beyond the frames of the obvious.
The brief asked for a label design for an imaginary gourmet bread line, produced by The Baker on Nassau. Each bread has its own history, tradition and recipe.
I based my concept on the bread origin. Emphasising typefaces as a reference to a cultural aspect of the place. Each label tells a brief history of the product. The label wraps the bread in such a way the consumers could hold it without getting covered in a floor.
Gold Rush bread label typeface refers to 1920s in America and the yellow colour is a reference to sun heat, gold and corn.
Leningrad bread label typeface refers to Lenin and the red colour is a reference to Communist Russia.
Dubh bread label typeface refers to Celtic Ireland and the green colour is a colour of Ireland, the Green Emerald.
Olive Branch bread label typeface refers to the traditional Greek alphabet. The blue colour is a colour of sunny Greece, the popular holiday’s destination.
This is a mock project for the tea and coffee packaging. The aim of it was to design 3D product following the styling of the set and then a photo shoot.
The Thompson Tea and Coffee Company based in Britain has been importing their products from Kenya for almost 150 years, so it would mean they started their trade journey during The Victorian Era. This was my starting point of the concept development.
Looking back now, I think I must have been inspired by the book I read as a child called In Desert and Wilderness wrote by Henryk Sienkiewicz. It tells a story of two kids travelling through Africa. The description of nature in the book is so superbly written that as a child I was able to imagine and feel the dust, the humidity, the burning sun heat, the smell of camels, leather, tea and yes coffee too if such was present.
I wanted to create a scenery of a picnic after a very long journey, somewhere in the middle of the desert beside rocks. The crew is sitting by the fire, preparing for the night. Dust, sand and scorpions are the company of the set.
For the typography I followed a tutorial on vintage signing, the link is here. My tea packaging was meant to be more green but the printer we had in the college caused some problems. I borrowed some old books and the scarves, bought the vintage cup at the antique shop and some old photographs with handwritten envelop at the flea market. I remember I paid €5 for the lot after negotiation! I guess I paid for the fact that I did NOT have it more than anything else!
After printing and folding the boxes we were ready for the styling and photoshoot. The final product is an ad campaign for Fallon&Byrne which here in Ireland is an exotic products store and a restaurant.
To complete the journey on the Victorian architecture, here are some photographs that were taken in May 2018. Victorian gardens and houses in the Rathgar area.
In Ireland watering the gardens or the grass is totally unnecessary, in fact, I do not think I have ever have seen anyone doing so. Because of the humidity in the air everything around is full of life and greenery.
During the Industrial Revolution, there was a rapid development of the Dublin city, which at that time was under the British rule. I am not a great fan of the city centre, but I do really like the neighbourhood in which I live. It has a lot of character. When walking around it I have an impression I travelled back in time to the British colonial period. Something Irish people would not see as intriguing or entertaining as I do, at all. I only want to admire the aesthetics of that period.
Solid front doors with ornaments made of brass. Sparkle cleaned every Saturday, by very well-educated housewives. Perfectly matched colours of the doors with the facade of the buildings or with the plants in the garden. Romanticism hidden in organic vault lines over the front doors. Refined British black gates, fences and barriers. Perfect set for a romance during an Art Nouveau period.
This screen and digitally printed collection for unisex street-ear are designed using heavy cotton, sweatshirt knits, natural denim and jersey to create an Autumn/Winter collection. The theme of this collection is sleep deprivation. The character Timothy was developed through an exploration of this topic. His night-time imagination, the stagnant light and frustrating times are explored to create an original and eccentric aesthetic.
My design process is driven by colour, surface and construction. Architectural forms, geometric patterns and 60s and 70s interiors inspire me. For my degree show, I have created a series of playful, interlocking, multimedia textile modules that can be adapted and rearranged for a multitude of interior purposes.
Words can heal, art can be anything
My work is driven by the need to represent some of the challenges of mental health through materials, imagery and text; to represent the world in a different way. The faces are a depiction of the multitude of directions that someone’s life can take when they are at the point of crisis.
Research is driven by childhood memories and themes around civilisation versus nature. Contrasting structured silhouettes and playful tulle, my womenswear collection portrays what we usually view as a weakness becoming a strength.
Passion in the Kitchen
A romantic ephemeral collection based on my parent’s relationship in their restaurant. Creative fabric manipulation techniques combined with an organic approach to garment construction are the main drives in my work.
My aim is to reflect the beauty of nature in the clothes that we wear. Shimmering Crowntails is an exploration of the reflective and refractive metallic surface qualities of fish. The challenge is to turn something old into something new, to create beautiful handcrafted unique, vintage garments with a contemporary look.
Luv Club brings together two contrasting identities: traditional Croatian dress and the creativity instigated in a clubbing environment. I pay homage to the Licitar, a gift of love and use my personal documentation of clubs and parties to create a new identity. A celebration of love and party culture.
In ancient Ireland, mythology and folklore were a fundamental part of the knowledge encompassing each tree. They were talismans, each with their own meanings, uses and stories. My work explores native Irish woodlands through the juxtaposition of each species recreated in cloth, with excerpts from the National Folklore Collection.
OTHER FASHION&TEXTILE ARTISTS
I could not find a link or a name to all the artists featured in this post. If you recognise your artwork here please, contact me and I will provide the relevant links.