Archive for ‘11/12’

May 18, 2011

Barbour’s a/w 11/12 collection

Check out Barbour’s a/w 11/12 collection here on Mpdclick’s Trend Journal @barbour

March 21, 2011

Trend Preview: Autumn Winter 2011 2012 @ Scarlet Opus Trends Blog

From Victoria  – Scarlet Opus – a fabulous write up that highlights work by two of our students here in the School of Art, Design and Architecture (ADA) University of Huddersfield.

The unstoppable creative force that is Anthony Hughes – a ’BA (Hons) Surface Design for Fashion & Interiors’ undergraduate and Textile Design for Fashion & Interiors BA (Hons)’ 2nd year Elizabeth Clarke.

“Several years ago I was invited by The University of Huddersfield (where I gained my degree in the 90′s) to help deliver Trend Forecasting modules to Design students.  I’ve always enjoyed working with the different students, passing on my forecasting skills and helping them to approach their design work from a newly informed angle.  I can honestly say I get as much out of the working relationship as the students do; they inspire me, give me a forever changing alternative perspective and give me hope…because I know some of the students I’ve worked with will eventually be responsible for amazing Design solutions in the future which will benefit us all.

Today I’d like to introduce you to 2 ‘stand-out’ students I worked with during 2010/11 who, as well as being wonderful people to train, have also produced thought-provoking, professional and accurate design trend forecasts for Autumn/Winter 2011/12:”


to read the full report click here  Trend Preview: Autumn Winter 2011 2012 @ Scarlet Opus Trends Blog.

January 18, 2011

Live From… Milan Menswear, Day 2

Live From… Milan Menswear, Day 2 Prada

Miuccia Prada likes to challenge fashion, often taking the ugly and turning it into something unexpectedly directional and fashion forward. For her winter menswear collection the references come from the 60s – and everything kitsch and bad taste about the period. In this case it’s turtleneck twinsets, boxy suits and diamond-patched suede commuter coats.  The look: Bad-taste 60s retroisms made minimal and modern Silhouette: Square-cut flat planes, oversized top halvesKey items: Tailored suit jackets are oversized and boxy with exaggerated wide-cut sleeves, either high-breaking three-button SBs or four-button SBs buttoned to the neck, while pants are tapered and cut above the ankle or cropped just below the knee; square-cut 60s-style polo shirts and twinsets comprise a narrow turtle neck and V-neck combo in glitter knits; elsewhere there are zip-up track tops and viscose jogging bottoms, carrot-leg suede pants and suede commuter coats with contrast diamond panels

Colour ..  for the rest of the report click the link below



via WGSN Fashion News: Live From… Milan Menswear, Day 2.

October 16, 2010

Premier Vision Report from a craft point of view AW11/12

One craft lecturers personal view of Premier Vision

Please find below my rambling report and thoughts on those things I saw at Premier Vision, Sept 2010.
PV / Indigo: Sept 2010 report, Nicola Perren.

Please find below an overview of my observations from trend shows (I always find strange as they are basically a round up of what is already in full manufacturing process! Still it is an overview of the work that sits on the edge / forefront of production). It was, as ever, inspiring not only to see the work but to have ‘textiles is a huge industry’ blast you in the face – and only a representation of those who can afford and are focused at the fashion industry.

It was busy but I found every stand I visited, accommodating, welcoming and openly pleased to discuss modes of practice, the state of the business and to hear that we have students from a variety of courses who I feel have something new to bring.I am rounding it up in our key specialism’s but I did find that some idea’s crossed all area’s and will just repeat those. My text is a round up of words that came to mind / open dialogue rather than wonderful prose…. (sometimes I also mention a craft student name – can point them out in catalogue if you do not know their work).Please excuse any dreadful misuse of terminology…


key words:Doubled up (double cloth, two sided, multi process)Timeless (chanel, fine (oriental) paisleys, liberties in scale of pattern)Chain effect (open weaves, grids (structurally), lace)Faking it (printed knit structures, embroidered lace effects, embroidered dogtooth check effects, printed embroidery, printed water drip marks!)Tame Laura Dowey – but subtler (all mixed up: plaids with florals, thickly printed process on fancy wovens, oriental fights paisley)

COLOUR (from prediction forum):Night time (rich, space, silky, velvety)Foody (olives, satay, smoked tea, cookie, quince)Landscape (leaden horizons, ambiguous landscape, full bodied coldness)
Overview – fullness, roundness, rigorous, elegant, warm, desirable, nourishing.
KNIT.Fairly plain but when there was something else it tended to have an ornamental feel – usually through cabling (hand knit) in a mid chunky state, nothing overtly chunky / oversized. Jersey fabic to die for in terms of touch, it felt soft, luxurious but not at all synthetic, raw silk feel (slightly dirty?!). Design studios a plenty had knit with an emphasis on small scale patterns (sorry but my knowledge is limited in terms but could point out a picture!), hand knit cables and crochet. The crochet tended to be used as on overlay on plain woven cloth – adding surface textures.Mohair / fluffy surfaces but the BIG thing (everywhere) was lace from sophisticated beauty – vintage fine to quite simple and open (knitted open squares). There was some interesting mixes – knitted laces cut into strips and stitched onto knitted laces – DOUBLES.What was missing (across the board) was the 80’s, this may be translated differently by the fashion designers but it was not clearly evident in the textiles or colouring. If anything it almost felt timeless, moving towards classic, vintage in process but not the ‘vintage’ look (no tea staining!).There was a lot of knit presented in Indigo by british companies, but my observation was that what was being shown in there was not in PV itself – possibly be there next year but not too convinced of that. Possibly these knit design are manufactured in process’s that avoid shows such as PV – i.e. out sourcing, home industries? Chris / Ruth could answer this I’m sure.Over all, on the knit front – v. positive, lively, real.

EMBROIDERY.Kirsty Lyle!! Just think our Kirsty – not sure if this is really going to work, but somehow…– certain pieces were clear – architectural process (not sure of name – couching?), black on white!Quite a lot of quilting (but not in V&A exhibition way) but two fabrics stitched together with wadding in middle. Various play’s on this – double sided: leather / fur, nylon / felt, also – stitching that holds it together was done in an ornamental manner with a wool / mohair which was subsequently felted resulting in felted overlays on sporty / crisp nylons – interesting and quite a bit of it in forums.Overscale broderie anglaise, cross stitch effects – small stitches building up a large scale repeat. Stitched lace look.Woven bases – worsteds, felts, moiré effects, velvet, voile, netting.Sequins – heavy application but then with chunky over hand stitch, patched sequins on fake furs which are then printed on.Giant home made sequins – foam discs with patent surfaces – glued onto cloth – not stitched.

PRINT.So so so soft, sumptuous, melting, INKY, rich (but soft), old tattoos, bleeding, brush marks, fluid – stunning. There did not seem to be edges as such, bleeding, water drips, ink applied to wet cloth – think star steamer gone wrong with an impatient hand painter…. but the effects were quite breath taking and EVERYWHERE.The print seemed on the surface – not saturated (double sided effect?), not much devere but I did see a few pieces that used a students technique of ours who was selected for texprint a few years ago (name avoids me) – a new technique apparently where the print remains in the devore’d parts – devore was structured chunky stripes with small floral prints.Printing onto silks, voiles, velvets, obvious weaves (!) – (chanel and paul smith types).If there was a vibe at all it was mainly apparent in print it was for 60’s / 70’s softness – oriental paisleys, Laura Ashley meets Liberties at some washed out hippy festival (?) – I can smell the campfire smoke and patchouli coming off them (faintly).
With regards to indigo there was once again so much print it made you giddy – to pick out anything in particular was impossible. What I did notice was the colour – it was intense, there was no time to breath / stop: it just seemed like a colour overload with pattern to be honest. There were some quieter places where it became very graphic and clean (Peagreen) alongside companies selling vintage samples from sample books (included a lot of weave).Animal prints (a la Robyn Lyndsay) – large scale but photographic (not hand drawn) – eagles, deer with big antlers – powerful, digitally printed and tones of grey. Power – not cute.

WEAVE.The least represented but maybe held the greatest changes / movement (possibly a personal opinion). There was little in Indigo (except Paul Vogel) but it was clearly evident in it’s use as alternate bases for printing / embroidery and crochet overlay.DOUBLE CLOTH madness, very clear differences in sides – nominated for virtually all the PV awards. From uber fine synthetics and silks to textured chanel derivatives and worked fur base cloth. Fur (tufted) was structured – carved / cut (embroidery technique whose name totally escapes me). Sheens in plain, nylon jacquards with wool and subsequently felted (pretty much only sign of jacquard).Dobby was king & queen: mohair plaids (quite open – reflecting similar moves in emb / knit), non twist – very thick – chunky extra’s, loop yarns – solid woven,.Oversized to medium dogtooth / houndstooth – cotton / fur combo’s – contrasting yarns.
– Finally – two more observations from indigo (probably mainly useful to crafts).

VINTAGE: Quite a few companies had developed a Vintage department in which they ranged from selling non altered 2nd hand clothes (!) to completely restructured mixed up garments with a contemporary feel, they were re-made, mixed with new textiles and felt quite fresh – it was the idea / concept that was being sold (thinking of a great ex student from Glasgow on crafts).

HAND PAINTED: Came across a few companies who focused on hand painted (non-repeating) prints – felt very raw and canvassy – but utilised a number of base materials from cotton, silk to linen and knitted jersey. Mainly Como, Italy based. – Quite refreshing in the sea of digital / transfer prints. Did find a company in London and another in New York (Japanese, very established – so anti computers does not have a web site! – music to the ears of some craft students).