INDUSTRIAL DESIGN
INDN211
Product Interior: design development, resolution and communication
Due Monday 18th June 2020 - 45%
Josie Taggart
THE TASK
Using the volume and form of two of your designs from the first project develop your enclosure considering the following: In gaining access to the interior of your artefact, you will spatially transform your object through movement from closed to open. In doing so, you should explore a range of creative possibilities in how you achieve this considering both the pragmatic and poetic elements of movement. Is it achieved through a simple pivot or hinge or is a more complex mechanistic movement required? It would be beneficial to consider what type of movement might be appropriate for two designs chosen from the first project. Furthermore, your final renderings of the exterior defined the materials of the enclosure and these materials may imply a certain type of movement, as might a design detail. In addition, further reflexion on aspects of your theme may help inspire a direction and determine the appropriateness of a particular dynamic quality. This dynamic revealing will give you the opportunity to consider the relationship between the visual language of the exterior and the interior. Should they be sympathetic, or should they contrast each other, either way they should enrich each other and add greater meaning to the statement your enclosure is making.
As you consider the relationship between the interior and exterior, you should reflect on your background research from the first project and conduct further detailed research investigating aspects of your theme that will support and justify your design directions for the interior of your enclosure and the expressive qualities relating to its revealing and movement.
PROJECT 1
As mentioned in the project task, I must first choose 2 models from project 1 of the INDN211 course to develop in project 2. I must choose models that I will be able to successfully develop the interior of, and turn into moving gifs for the final outcome.
I considered all of my 5 concepts and 2 final models from project 1 in terms of their interior and exterior forms. I also considered which had the strongest reflection of McQueen and the background research. I plan to push this connection into a successful design for project 2.
I have chosen these 2 models to develop. I like the connection to the theme and interesting texture in the top model. I chose the second model because of the interesting outer frame that I thought would be interesting to develop for this project. For the purpose of a new project, I am going to look at these models with a fresh eye and mind to push the connection to McQueen further and also the design ideas in this model. I think this will help me push the designs to be as successful as possible.
PROJECT LAY OUT
As presented in Project 1, I will be organising my project into different phases. This way it will be easier for the viewers to understand my process in creating the final outcome. The phases for Project 2:
PHASE 1 - Background Research
PHASE 2 - Movement Research
PHASE 3- Ideation
PHASE 4 - Continued Research
PHASE 5 - Creation
PHASE 6 - Final Design
PHASE 1 - RESEARCH
Theme of enclosure - Alexander McQueens Plato Atlantis fashion collection.
For project 2, I am using the same theme I used to create the project 1 enclosures. I will be using some research from project 1 and some new research to freshen up the ideas for project 2.
RESEARCH FROM PROJECT 1
ALEXANDER MCQUEEN + PLATO ATLANTIS RESEARCH
Lee Alexander McQueen was a British fashion designer admired by experts and fans alike for his fantastical and dramatic dresses. He also designed equally remarkable shoes and bags that made his name one of the most recognisable both in fashion and art.Aside from his creations, he was known for his unapologetic attitude towards his unconventional background and appearance, breaking the mould of a conventional designer.
- McQueen was the youngest of six children who grew up in a council flat in London’s East End.His mother was a social sciences teacher and his father was a taxi driver.
- For this reason, McQueen called himself the “pink sheep” of the family.
- After dropping out of high school, McQueen found work on Savile Row creating made-to-order suits. He worked for the tailors Anderson and Shepard, then Gives and Hawkes.
- After design school and before launching his own label, he moved to women’s clothing. He became the head designer for Louis Vuitton’s Givenchy fashion line.
- McQueen’s pieces are famous for their violent and grotesque elements, as well as their dark romantic themes. His entire first collection, inspired by Jack the Ripper, was bought by famous fashion director and stylist Isabella Blow.
- McQueen was found dead one day before his mother’s funeral. Three years previously, Isabella took her own life, McQueen describing it as “the most valuable thing I learnt in fashion”.
- He reportedly left £50,000 to his dogs and £100,000 each to four charities, two of which are for animal welfare.
MCQUEEN MOVIE
The 2018 McQueen documentary gave me all the answers I wanted and more! The Documentary explores Lee's (McQueens first name) life from when he left home as a teenager, up until he took his own life in 2010. I thoroughly enjoyed this documentary, it was fascinating and gave me a whole new outlook on Lee himself and the designs he produced. Some consistent ideas were his outrageous, dark and emotional ideas and themes that seemed to stem into all of his personal collections. As a designer, he was always associated with a skull icon that he often incorporated into his work. This became almost a trademark symbol of his.
I also gained a deeper understanding of the significance of the Plato Atlantis collection, most importantly that McQueen planned and knew that this collection would be his last before he took his own life. McQueens's connection with the ocean and animals in the Plato Atlantis collection became clear, he admired the peace and calmness and clarity of the ocean, something he couldn't find within himself while dealing with his dark internal conflicts.
SUMMARY OF RESEARCH FINDINGS
Alexander McQueen:
- Alexander McQueen had many internal conflicts
- He coped with his dark internal conflict by expressing them in his collections, often emotional and uncomfortable for the audience to watch
- McQueen had very little money to begin his career which meant he often up-cycled unusual materials and turned them into runway masterpieces
- His work was commonly acknowledged as dark, powerful, emotional and revolutionary
- McQueens signature icon was a skull
- Although his final collection was full of bright and vibrant colours and patterns, this collection had the darkest and most depressing meaning behind it of all his shows.
Plato Atlantis Collection:
- During the turn in design industry into more graphic and printed patterns
- The ocean was where McQueen found peace and serenity in himself
- Bright and powerful colours that would leave a lasting impression
- Expressed his emotional connection with the ocean in his final collection to signify that he will be finding peace within himself with death
- Signified that this last collection would be where he would find peace
- PLATO’S ATLANTIS is a reference to an island which sank into the sea which predicted a future in which humanity would need to evolve to survive when the ice caps melt and the sea began to rise - McQueen might have been symbolising that he was also melting into the ocean with this idea, he was melting into the ocean as this meant he could find peace with his internal conflicts.
PROJECT 2 RESEARCH
PLATO ATLANTIS COLLECTION
- On October 6th, 2009, in an indoor arena in Paris’s 12th arrondissement, the future of fashion changed. The venue was the setting for Alexander McQueen’s SS10 Plato’s Atlantis show, inspired by the idea of a time when humanity, having wreaked havoc on earth, returns to the oceans. In a darkened space, the audience watched as snakes slithered over the projected figure of model Raquel Zimmermann, before, out of the shadows, two imposing mechanical cameras sprung to life. As he had with his VOSS show of SS01, where guests had been confronted with their own reflections as they gazed upon a box of mirrored glass, McQueen turned the focus on his audience, the cameras scanning the crowd. The first model emerged in impossibly high platform heels, her dress a digital print that veered between animal and alien, her head covered in a series of ridge-like braids. She was followed by the kind of creatures never before seen on a catwalk, their hair twisted back into towering, Predator-like sculptures, some a foot high. They shimmered in iridescent scaled creations, wore dresses made from fabric that shimmered like a jellyfish, and appeared like kaleidoscopic visions of butterflies and snakes, stalking the runway in those now-iconic claw-like armadillo shoes.
- “Lee never really wanted celebrities at his shows, and I think what he wanted to do was turn the front row into a spectacle, the people you see there and their power. So for Plato’s Atlantis we had these motion-controlled cameras, sort of dinosaurs, that were on tracks and they would follow the models down the catwalk, looking at them as if they were prey. And all of a sudden these great black heads would swivel around with a quick swooping movement and do the same thing to the front row and travel back up the catwalk, looking closely at the front row, and the live stream of the show was being played on the screen. It turned everything inside out and into a spectacle.”
https://www.dazeddigital.com/fashion/article/32285/1/the-mcqueen-show-that-changed-the-future-of-fashion-platos-atlantis-nick-knight
MENTAL HEALTH
- McQueen was infamous for his uncanny ability to simultaneously disturb and inspire his audiences. His collections were uncouth intrusions to the stiff-lipped fashion industry of the 90s. McQueen was a self-proclaimed melancholic thinker. He embraced the macabre and had even darker fantasies of his own. He modelled his final project at St. Martin’s College of Art & Design after Jack the Ripper, and often used grotesque imagery of death in his fashion. Blood, gore, fire, rot, terror, mania; all an inside look into McQueen’s head.
- While audiences sat in awe of his creations, it is with hindsight one considers the refinements required before any final product hit the runway. As shocking as his designs were, McQueen toned his original visions down to be digestible for the general public. McQueen’s mental health was the buffer between his overwhelming obsession with societal taboos and the unprecedented leaps in design that he took. Fashion was his lifeline and the medium he used to escape from himself. It is evident McQueen’s ability to manifest his darkness into a positive outlet gradually declined over the years. The recesses’ of his mind began as an incubator for giftedness, but soon became a rabbit hole that even he could not navigate out of.
- There are rumours McQueen spent over £8 million on cocaine and other illicit substances throughout his life. The bottom line to every addiction is the desire to evade reality for a period of time. Stress from both professional and personal life are likely motivators, but McQueen’s innate predisposition for perfection is a glaring red flag as to why he struggled to shake off his habits.
https://voltamagazine.wordpress.com/2019/01/15/mcqueen-mental-health-in-creative-industries/
- Statistics show that people in the fashion industry are 25% more likely to experience mental illness, due to its fast paced, demand for the highest standards and heavily anticipated nature.
https://www.icaad.com/blog/fashion-x-mental-health
- Over the years mental health has seemingly become less taboo in the fashion industry, the tragic deaths of highly revered designers Kate Spade and Alexander McQueen shone a spotlight on mental awareness. Further renowned people such as John Galliano, Isabella Blow, Kate Moss and Adwoa Aboah have publicly opened up about their struggles with mental illness. These acts have in no doubt brought attention to the problem, but yet there is still an awkward silence amongst individuals in the industry. People who are not revered and sought after, may feel they don’t have the status to open up about their mental health; fearing loss of status and being perceived as not coping and unable to do their job. The fashion industry itself is not the sole cause of mental illness in people working in fashion, but I do believe that it plays a big part. And although for some, mental illness may have not begun in the industry, anxiety and depression is only exacerbated by the industries fast-pace, exceeding pressures and high demands.
https://www.icaad.com/blog/fashion-x-mental-health
SUMMARY OF RESEARCH:
Plato Atlantis:
- The show was more of a spectacle than a regular fashion catwalk - left viewers feeling uncomfortable due to the nature of the patterns and designs that played a part in the show.
- There was a large range of animalistic patterns, themes and elements to the show, including moving snakes in the video, distorted scale patterns on the garments, armadillo shoes, and creature looking models.
- The cameras on the catwalk were on large, long tracks and stalked the models as they walked, these cameras would move in uncontrolled patterns and added to the distorted and uncomfortable nature of the show.
- The cameras moved up and down and the heads of the cameras would swivel around in swooping movements
- These cameras would film parts of the crowd onto boxes in the catwalk, essentially turned everything in the room inside out.
Mental health in the fashion industry:
- McQueen was not the only designer in the fashion industry who dealt with serious internal conflict and emotions that pushed them to the edge or further.
- People in the fashion industry may be more likely to experience episodes of damaging mental health due to the high demands and fast paced nature of the fashion industry.
- Statistics show that people in the fashion industry are 25% more likely to experience mental illness, due to its fast paced, demand for the highest standards and heavily anticipated nature".
- There is definitely an issue with mental health in the fashion industry and it does not currently get as much recognition as it should.
- Could brining the issue of mental health in the fashion industry to light help other designers dealing with similar emotions to McQueen help aid their recovery?
- Could talking about this issue prevent more designers from taking their own lives?
- How can we make this issue more accepted through our designs? What other ways could this issue be "talked about".
- McQueen would not have been the designer he was without these internal feelings and emotions.
After researching how many other fashion designers have dealt with similar mental health issues to McQueen, I think this is a very important issue to bring to light and talk about to help others who are feeling the same way. There needs to be more understanding, conversation and recognition of mental health in this industry due to the nature and pressure of it that makes the likelihood of developing mental illness higher. With conversation of mental health becoming more common in other industries in modern times, it is even more important that the fashion industry does the same to reduce any chance of another designer taking their own life.
VISUAL RESEARCH
My understanding of the theoretical ideas behind McQueens Plato Atlantis collection and his life are now clear from this research, however I now need to understand what this research looks like visually.
What does the Plato Atlantis Collection look like?
What does McQueens conflict look like?
What does McQueens life look like?
What does mental health look like in fashion?
What did McQueens emotions look like?
I collated a range of images I thought best answered these questions. I included a range of prints and outfits from the Plato Atlantis collection and I can see how these garments were marine and reptile inspired. I also reflected McQueens internal conflict, difficulties and emotions with a range of dark images I found. These help to convey his difficult battle with mental health and the darkness he felt that arose from this battle. This research will be crucial in designing in the inside of my enclosure as I would like to include some of these ideas and themes to highlight the contrast between his internal conflicts with mental health, with his external successes in the fashion industry.
PHASE 2 - MOVEMENT RESEARCH
MOVEMENT
After thinking about the research ideas, I needed to start thinking about how I approach movements related to this theme for project 2. I will start by looking and researching what movement looks like. I also want to research some unique movement styles in McQueens garments. I also want to research how the underlying ideas, such as conflict, could be expressed through movement as I think this is a very important idea to express in McQueen inspired work.
WHAT DOES IT LOOK LIKE?
To begin, I wanted to research what movement looked like in every day life. This way I can become inspired for some simple movements I can incorporate into my enclosure.
Where do we see movement on a daily basis?
What does movement look like?
What are common movement patterns?
What are some simple movements?
Movement is all around us in different forms. Movement can be organic or rigid. Dancing is an example of organic movement, water and fire are also examples. There is a lot of repeated movement day to day in-terms of human movements. Rotational movement is a common and organic type that we see often. I now need to think about how I can simplify some of these movements and find relationships between these and movement in McQueens work for my enclosure.
JOINT MOVEMENTS
Joints were the other movement types I wanted to research for this project. There is a range of different joints that make objects move. I have examined a range of these in order to consider which one might be most successful for my enclosure.
I explored a range of joints from a simple hinge, to ball and socket to a spring. These helped me to understand the different ways objects can and cannot move. I now understand how movement usually only occurs on one or two axis in these joints. It is hard to give objects a full range of motion and one part of the object is usually stationary allowing the other part of the object to move. After researching general movement ideas, I am ready to explore McQueen specific movements to hopefully inspire the movement for my enclosure.
MCQUEEN MOVEMENT
I now want to look more specifically at my McQueen theme and see if I could incorporate a type of movement from his work to inspire the movement in my enclosure.
Where is there movement in McQueens work?
What are the signature movements in McQueens work?
What do these movements look like?
Is there any marine or reptile movement in Plato Atlantis?
I collated a range of images that answered my questions around McQueen and the types of movement in his work. I found through videos that the most movement occurred during his catwalk shows, specifically the different ways and directions the outfits moved as the model walked. I found this interesting and was not a movement I had considered before. I also found a lot of movement in the cameras on the catwalks, these moved in random and distorted ways, following the models in a creepy style and rotating around their bodies. The reptiles, in particular snakes and some marine patterns were used in the background video of the catwalk that moved in rotations almost creating a vesica piscis type pattern. I would like to narrow down this research to a few significant movements and see which of those I could incorporate into my enclosure.
ANALYSIS OF MCQUEEN MOVEMENTS
I took my favourite McQueen movements from the Plato Atlantis show and 1 other famous collection to analyse the types of movements that occur in his work. In order to convey the McQueen theme in my enclosure, I think it is important that I use a signature movement of his in moving my McQueen inspired enclosure.
This analysis gave me an insight into the different movements and directions that come up in McQueens work. I noticed a lot of up-down and rotational movements. There was also interesting sliding action from the cameras on the runway on the catwalk. I will now begin ideating around how I can incorporate similar movements into my enclosure. I also need to think about how a movement can express the idea of internal conflict vs external successes.
PHASE 3 - IDEATION
I want to begin my ideation for this project by looking into the simple ways I can manipulate and create movement in my enclosures. From there I will build on my ideas and the complexity of the movement. I also think there will be some difference in creating ideas for movement on paper compared to movement on fusion so I will have to take this into consideration when creating my concepts. For now I will begin ideating both of my enclosures on paper, then will move to concept creation in fusion once I have a direction for each enclosure.
For enclosure 1, I used a range of hinge, slide and rotational movements inspired by the movements in McQueens Plato Atlantis collection. I also manipulated where I could split the body of the enclosure to create movement. From these ideation sketches, I want to develop the different slide and rotational movements. I think these could prove most successful for this enclosure without ruining the overall shape and form of the enclosure. I now need to consider how a movement can emphasise the idea of internal conflict versus external successes and how the inside of the enclosure will look.
IDEATION - Enclosure 2
For enclosure 2, I created movement by extending (up and down movements) parts of the enclosure, hinging sections and opening up the outer layer. This helped to expose the interior of the enclosure while keeping an interesting looking form. I like the idea of an up and down movement in this model, with one part extending, or somehow collapsing the outer layer of the model to reveal the inside. I also need to work on how I will express the idea of internal conflict versus external successes, in this model and might have to change the form of the enclosure slightly.
EXTERIOR CONCEPT FOR ENCLOSURE 1
From the ideation above, I took 2 ideas and developed them into concepts for each enclosure. This way I was keeping my options open in terms of my movement and theme for each enclosure. I also looked into how each idea would work, more in depth in the concept ideas.
For concept 1, I looked into the sliding idea. I think this idea is relatively simple but very effective. I also think it would express my idea of internal conflict versus external successes well, if I created a dark interior design for the enclosure that contrasted to the gold exterior. I think this design would be relatively simple to re-create, I just need to work out how I would make the slide smooth. I tried to create a fragile reptile inspired pattern on the inside of the enclosure in concept 1, however I think this looks messy and I need to re think how I design this area. Maybe this should be once solid dark colour or a solid dark pattern?
For concept 2 - I looked at a hinge movement that occurred on the back side of the model and allowed the body to split in half and open outwards revealing the entire interior of the enclosure. I like how much interior this shows and I think if I created an effective design on the inside, this could be successful. However, I wonder how difficult it would be to create an effective hinge movement? In this concept, I used broken and fragile bones to create a dark pattern on the inside of the enclosure. However, I think this might be too busy with the outside of the model being busy to, so I need to re think this area of the design. I also might need to think about where the thread is placed in this design, as currently it is forgotten into the rest of the design. I need to make it more of a feature if I develop this model.
EXTERIOR CONCEPT FOR ENCLOSURE 2
I took the same approach for concept design with enclosure 2. I created 2 concepts from the ideation sketches.
In concept 1 I have slightly developed the original enclosure by making the inside more of an enclosed and interesting shape than the previous model. I have also made the outside form into one solid layer rather than in 2 half's like it was in the previous model. Essentially, there is a rod in the middle of the inner form that gets pulled out, when this is released the outer layer unwinds and opens outwards revealing the interior form where the thread is contained. I think this could be very effective but may be hard to recreate in fusion. I also need to think about the shape of the rod that gets pulled up (or think of another way) as currently this looked disconnected from the rest of the design.
In concept 2, I have developed the up and downwards movement the research by extending the pole in the middle of the model that pushes the 2 halves of the outer form away from each other. This is a very interesting movement, but again may be hard to pull off effectively. I also need to think about how this concept meets the brief as it is only showing a small interior of the model and may not be enough. I wonder how this model would work in real life if it was 3D printed?
CHOSEN CONCEPT
After developing ideas into concepts for 2 of my models from project 1, I need to decide on one model to take forward and develop into my final moving model for project 2. I assessed the pros and cons for both enclosures and how I could implement movement, and I decided that enclosure 1 has the potential to make the most successful design. Enclosure 1 was my final model for project 1, and I really like the way it expresses the theme and the underlying ideas I was trying to portray about McQueens internal conflict shaping his external successes.
This is my chosen enclosure and concept designs for this project. I like the way this model turned out and I believe it could become a successful mechanical enclosure. However, on reflection of this concept, I do not like the current interior ideas for the form, so I plan on developing this area of the design further. I want to continue researching different ways I could incorporate the idea of McQueens mental health into the interior of this model.
PHASE 4 -CONTINUED RESEARCH
MENTAL HEALTH IN THE FASHION INDUSTRY
In order to develop the interior of my enclosure to be meaning full and relate to my chosen theme, I decided to continue the research from the beginning of this project and look at how I could promote a positive message about mental health through my design.
The idea to promote positive mental health came about after reading this quote: Inspire Wellbeing 2018 reports that:
“The likelihood of a mental health problem in the creative sector is three times that of the general population.”
This quote took me by surprise as I did not realise the extent of mental health issue in the fashion industry. I was surprised that even as a part time fashion student, I was not aware of this. I looked into what was causing this, and a-lot of the information referred to the fast paced nature of the industry, the pressure to succeed.
Mental Health in Fashion Research:
- "The industry can seem very glamorous from the outside but from the inside, it can be very lonely"
- "The combination of low pay and long hours can take a mental and physical toll. Sleep deprivation is a common complaint, and can contribute to depression, anxiety, bipolar disorder and ADHD"
- "The #MeToo movement has also propelled young professionals to be more open about disclosing instances of harassment and abuse. Alleged bad actors like photographers Mario Testino and Bruce Weber have been blacklisted by major publications and brands, though many cases involving less-prominent individuals have not received swift justice"
https://www.businessoffashion.com/articles/intelligence/inside-fashions-enduring-mental-health-epidemic-"They may find that it can be damaging to their mental health.. The purest purpose of the fashion industry is to create, once you stop creating, you’re forgotten. As the saying goes, one day you’re in and the next you’re out.
Even some of the most famous designers like Tom Ford recognize the very basic problems with the industry, “Fashion is evil,” he said, “ You stay out for very long and people forget who you are. And your name loses power.”
-“Fashion Should Be a Form of Escapism, and Not a Form of Imprisonment.”
In 2010, Alexander McQueen’s suicide rocked the fashion world. His death came days before fashion week and he did leave a note that read, “Look after my dogs, sorry, I love you, Lee.” A close friend, David LaChapelle, said that McQueen, “…was doing a lot of drugs and was very unhappy.”
-The most recent death of a fashion icon to devastate the fashion industry was Kate Spade. According to her sister, Spade had been suffering with her mental health for years.
https://www.therecoveryvillage.com/mental-health/depression/related/designed-by-depression/
SUMMARY OF MENTAL HEALTH FINDINGS
From the additional research I conducted into mental health in the fashion industry, this was the summary of the information I found. I wanted to collate it into a page like this so I could personally evaluate what the different aspects of this issue are, how it has stemmed, who it affects and how could it be fixed ect. These are all ideas I hope to portray an element of in my final design.
WHAT DOES THIS LOOK LIKE?
In order to translate some of these ideas into my final enclosure movement, I wanted to look into what these ideas around mental health physically looked like. I looked into the global symbols that are used to represent mental health and bring awareness, I also looked into the symbolisim of butterflies with mental health and other related symbols or movements. I have summarised these visually on the page below.
The symbols in the bottom left corner are globally recognised symbols that relate to mental health awareness. I like the fluidity and softness of these symbols and I think I could try incorporate these into my model or at least my logo for my final design. The top right are more symbols, using the brain and head shape that represent mental health however, I can't think how I would effectively incorporate these into my design as they are almost cartoon like symbols, which is very contrasting to my organic model. The #METOO movement aimed to encourage women to speak out about harassment. This was a very important movement and some fashion designers even incorporated the hashtag into their garments. I wonder if there is a way I can incorporate the same hashtags into my enclosure? Finally, the most interesting symbol that I was not previously aware of was the connection of the monarch butterfly with mental health awareness. I really like this connection and think it would fit in nicely with the Alexander McQueen theme as the pattern of a butterfly was incorporated into some of his garments. I think this would create a really strong connection between the theme and the idea of promoting positive mental health which is what I am wanting to achieve in this project.
PHASE 5 - CREATION
THEME + IDEA CONNECTION
In order to move forward with my project, I wanted to cement an idea and connection between McQueen and the Plato Atlantis collection with my project 2 model and its movement pattern.
For my connecting idea between my model and movement for project 2, I have used the symbolisim of a butterfly in its representation of mental health awareness. I found that when I split my model down the middle, it displayed a similar shape to a butterfly which strengthens this symbolism. I also want to incorporate a similar movement into the model as butterfly do. The reason for using the idea of a butterfly and mental health, is to bring awareness to the issue of mental health in the fashion industry. I think this is an especially powerfull message to communicate through an Alexander McQueen inspired enclosure as he had a serious battle with mental illness in his life that he eventually and tragically lost. By bringing more awareness to this issue, through the symbolism in my enclosure, I hope mental health in the fashion industry can become better acknowledged and talked about more often, to help those experiencing mental health issues.
MOVEMENT
In order to make my model successful, I wanted to incorporate a similar symbolisim into the movement pattern of my model. I have looked at how a butterfly wings move around the small skinny body in the middle and have replicated a similar movement using a hinge joint.
This hinge joint allows me to move the model, in a similar pattern to a butterfly movement pattern. I think this is important as it strengthens the symbolisim of a butterfly being mental health awareness in an Alexander McQueen enclosure, which represents the fashion industry. This model, will be displayed in an exhibit, in a fashion related setting, which means people in the industry will be able to look at the model and watch its movement patterns first hand.
INTERIOR IDEATION
I must now think about the interior of my enclosure and how I can strengthen this connection in the movement but also the interior surface that will be revealed when the model moves.
I explored a range of interior surface patterns I could use for my enclosure. I looked into different mental health type patterns, patterns that could symbolise McQueens mental health issues and the butterfly wing. When analysing each idea, I found the simple butterfly wing outlines to be the most effective potential designs. I think these would look subtle but effective if I imprinted them into the interior surface of my model some how.
THREAD DEVELOPMENT
I developed the position of the thread in my enclosure from project 1 to project 2. In project 1 it was located in a small window in the top section of the model. I have moved it to around a sphere in the second project. In project 2, the thread wraps around the sphere where the texture is applied around the ball. This way it will hold shape and position and not untangle. The symbolism of this ball is
PHASE 6 - FINAL DESIGN
ENCLOSURE CREATION
This is my enclosure for project 2. I have incorporated a butterfly wing structure onto the interior surface of the enclosure. I have also moved the location of the thread from the original model, to a new spot around the sphere inside the enclosure. I have created clear windows on either side of the enclosure to enclose the sphere. The thread is wrapped around the sphere, holdings its shape between the raised, animal texture around it. The model is held together by two small circle magnets located in the interior of the model.
This design reveals a butterfly shape and similar movement pattern when it moves. The body move around a hinge downwards and upwards like a butterfly's wings move. This symbolises mental illness and the importance of recognising this issue in the fashion industry. Alexander McQueen is the perfect example of why this issue needs to be addressed and become a normal part of conversation to ensure other designers do not feel the need to end their life because of the pain of mental illness.
RENDERING
To begin the final phase of this project, I tested a range of different renders qualities to find the optimum selection to display my enclosure. The colour selection was based off the colour pallet of the Plato Atlantis collection - a lot of blue tones. I also thought the blue was a calming and positive colour which would help me convey the idea of mental health awareness in the fashion industry. I tested a range of different shades of blue and materials on the inside and out to find the best contrast to communicate the form. I also played around with different materials for the ball, colours for the thread and textures for the side windows.
FINAL RENDERS
After playing around, I finalised the materials and colours I would use in my final enclosure. Here is a range of images that convey these qualities. I decided to keep the outside dark and create contrast with a brighter interior. The dark outside represents the issue of mental health in the fashion industry and the bright interior represents bringing awareness to this issue with symbolism of a butterfly.
LOGO DESIGN
As part of this project, we had to create a logo design to be displayed on our final renders. I played around with different text and images to try capture my enclosure in a logo design. From these concepts, I will develop one of them to display on my final enclosure.
FINAL GIFS
These are my final gifs for this project. The first gif is my main enclosure and the second giphy is to show how to the thread can move freely between the windows on either side of the enclosure.
ENCLOSURE IN CONTEXT
This is my final enclosure in an exhibit. This is the same context as my enclosure from project 1 but I decided this was still the most fitting context to display in. I think this is the best place to promote the message about mental health awareness as much of the crowd observing will be people who are interested in, or work in the creative industry, and therefore are most important to convey the message to.
BLURB ON EXHIBIT
This is the blurb I would display on the exhibit for the enclosure. I think it nicely summarises the purpose of the enclosure and why I made the design decisions I did.
REFLECTION
I have really enjoyed the research I conducted for this project as previously, I was completely unaware of the mental health issue in the fashion industry. This has given me a new perspective and is something I will continue to think about as a designer. I think it is very important that more people are aware of this issue, so it can become a more normal thing to have conversations about and be able to support one another. I think the design direction I took with the butterfly, its connection to mental health, and the connection of mental health with Alexander McQueen was effective, and I am very happy with the outcome of my enclosure!
