Meet GFF Talent, Meg Gardner, a fashion design and textiles graduate from the University of Huddersfield. Her final collection is inspired by her family’s relationship with astronomy. Having inherited telescopes from her grandparents. Incorporating sustainable design principles, the collection is trans-seasonal and adaptable for multiple occasions. Read more about Meg’s work below!
What is the most valuable thing you have learnt at university?
My degree has provided me with the opportunity to learn about my design identity and who I am as a designer. I have spent nearly four years being guided, pushed and creatively challenged by my lecturers to produce work that is continuously improving. The projects I have taken on throughout my degree have been vastly diversified, from high-end couture bridalwear, to print design, to homeware design, to commercial design; all have allowed me to develop and widen my skill set from what started as basic textile design, to flourish into original and innovative fashion design and forward-thinking concepts.
Throughout my studies, I have come to develop an acute love for handcrafted, intricate and artisan textiles. Techniques such as beading, lace making and hand embroidery have fallen victim to off-shoring and negative connotations, owed to the fact they are renowned for being very labour intensive and not overly easy or cheap to produce - instead fast fashion techniques, such as digital embroidery and laser cutting have taken centre stage. I have learnt, and wish to show and remind other people, how beautiful and diverse slow-textiles and slow-fashion can be, demonstrate that the hours that are spent on samples and garments are worth the final outcome and that the effort and attention to detail shows.
I have also learnt about the importance of continuing to practice such techniques and I am dedicated to bringing back rich and sumptuous slow-textile techniques that show my dedication to the industry. My awareness of investing in localism and the promotion of community has been significantly increased and I’m now aware that it is more important than ever, to harness true sustainability. Making the most of local products, local people and local skills are imperative: allowing for a more personal, bespoke and meaningful relationship and experience, whether it be about the visual effect, the heritage or the emotional connection you may have with a textile.
What was the starting point of inspiration for your final project?
My collection was founded on my family’s love of astronomy and the stars. As I child, I inherited telescopes from both of my grandfathers, with which I spent many nights camping and learning about their passion until it evolved into a passion of my own. I wanted to dedicate the project to my grandparents, as well as use the collection as a way to show others the beauty behind the astronomy equipment and mechanics that allow us to see the stars in a way our eyes simply can’t.
For me, stargazing is a form of meditation, it helps me stop and take a moment to breathe, and with the current climate being so chaotic and hectic, it is important to remember to take a moment to indulge in the things that help you refocus. The purpose of this collection is to translate the sense of tranquillity I find in astrology and turn it into a visual concept and create a sense of calm and peace for the wearer. Research and inspiration originated from the family heirlooms passed down to me but extended into exhibitions in London, displaying antique astrological equipment such as armillary spheres, telescopes and sextants.
The collection is a trans-seasonal, high-end, organic womenswear collection, comprised of clean, classic and considered silhouettes. The garments enforce the concept of easy styling with simple yet precise silhouettes. The concepts of circularity, space and time take over the foreground of the project, with a focus on circles and curves in pattern cutting as a strong inspiration throughout. The outfits are adaptable to the season to bring the “trans-seasonal” concept to life and the outfits are layered appropriately. To allow for interchanging between looks, the colour palette has been limited, including neutral colours, meaning the collection will be easily paired and styled with other garments that already exist in the wearer’s wardrobe, meaning the wearer does not throw clothes out to make room for new ones, as well as allowing for new garments to be bought and integrated into the collection.
What form will your final project take?
My collection remains a preliminary 2D, design-based collection. My portfolio showcases the design journey from initial design development and concepts, before progressing to stand work and 3d development, all the way through to illustrated concepts and range plans. The 3D stand development was one of the most important parts of the design process, as the moulage concepts really allowed me to visualise and sketch design inspirations for the ‘circularity’ concepts. Instead of making a collection, I chose to take a different path in terms of my final major project. My university offered me the opportunity to go out into the industry and source live briefs and work alongside companies working in real-time situations and scenarios.
I have spent the last year of my degree working with Eden Keshia, an independent bespoke designer, specialising in womenswear and bridalwear, on a wide variety of briefs. Working alongside the founder of the brand has provided me with opportunities that I would not have had the chance to learn by simply making my collection within the stereotypical university environment. This new and alternate way of completing my degree reflects the changing times of the fashion industry and highlights that maybe physical collections aren’t always the way forward when completing a fashion degree. I have had the chance to work with clients on bespoke briefs, experiencing the design journey from an industry point of view.
One of my tasks has been based on designing for an international clientele, expanding my design horizon and ability to create designs to appeal to someone other than myself. The skills I have gained from the challenges I have faced with this pathway have provided me with the capacity to understand how the industry works from research through to bespoke manufacturing. Gaining a degree in fashion is about so much more than creating a physical collection at the end of four years - the degree is the stepping stone into the industry, and the more grounded the stepping stone the better the position you are to enter the industry. My experience, and my consequential skill set and ability to function in real-time situations have given me the best chance and opportunity to pursue my career in a bespoke fashion.
How has it evolved from your initial ideas and what have you learnt along the way?
My initial ideas started with an eveningwear collection, however when I analysed the sustainability aspect of creating a collection with such a limited purpose, I decided to merge the eveningwear aesthetic with a slightly more commercial visual - this is where my collection really came to life. Throughout my development, I was keen to avoid falling into the trap of high-street and fast fashion trends and limiting the life cycle of the collection. I wanted to encourage investment into garments by not allowing short-lived designs details to take command of the garments. Therefore, I kept the garments clean, grand and sweeping in their silhouettes and combined them with more commercial garments that have been around for decades and are timeless in their existence – for example, shift dresses and wide-leg trousers. By including these more commercial elements my collection developed into a unique hybrid lineup of innovative and original silhouettes.
I knew from the outset I wanted intricate and artisan, handcrafted textiles to take centre stage within my collection. However, from my initial sampling, the complexity of my designs has progressed to grand and meaningful pieces of textiles. From basic linework, they have evolved into striking, eye-catching and thought-provoking pieces that demonstrate the beauty and behind slow fashion textile practices and the potential for the integration of these into collections. My skillset in itself has advanced from a simple and basic understanding of hand beading and embroidery to the ability to create fully hand-beaded fashion illustrations and portraits. Print also features a great deal in the collection, which I was hesitant to delve into at first, but after researching and experimenting with more subtle prints, I was able to find a balance between the bold striking aesthetic of the collection and avoiding bold, overwhelming prints that detracted from the beading.
What are the messages and themes behind your project that you want people to take away? Do explore any topics like diversity, sustainability or politics in your work?
At present, there is a massive spotlight being shone on sustainability and well-placed pressure to ensure that as an industry, we are taking responsibility for being as ethical and sustainable as we can in our practices. A key message from my collection is to remind people that sustainability needs to be considered from all angles, not just from a souring and production angle. Many collections are designed to serve one purpose, they last for a season – maybe two – and then are cast aside and replaced with a new collection, featuring whichever new trends are “in-style”.
Whilst still taking sustainable souring into consideration, it is also important to invest in sustainable design. This means avoiding major trend styles and creating garments that will quickly become obsolete in the industry, resulting in their lifespan being severely reduced. I designed my collection with the intention of tackling sustainability from a different angle than zero waste, or recycled fabrics. I intertwined concepts such as the timeless and trendless design with long-lasting structural ideas. I tried to find an innovative solution to issues such as: how long can the garment survive the constant changing of the fashion industry and stay relevant and where will it end up after its primary use and initial lifetime?
The potential for providing a second lifetime became one of the forefront ideas behind the project. I challenged myself to combine my solutions into my design concepts. These solutions took the form of limited seams, which reduced the chance of thread tears or splitting seams, as well as allowing the wearer to reuse the fabric for other projects in desired by leaving large sections of fabrics for alternative garments. This collection was designed to be long lasting and to withstand the forever changing trends of the industry, making sure to keep it out of landfill for as long as possible, and encouraging a variety of opportunities for second lives.
What’s an aspect of the fashion industry that you’re passionate about fixing or having a positive impact on?
Slow fashion and textiles are the sectors of the industry I wish to focus on; with such a big push the last few years towards making conscious fashion choices, I aim to be part of the industry that allows people to make those choices and educate ¬¬people as to why they are the better choices. My work has always integrated strong elements of artisan and intricate embroidered embellishment work. These techniques coincide with the slow-fashion ethos within the industry by investing time and skills into the garments and battling fast fashion. Not only this but artisan handcrafts elements make garments unique and more meaningful – they allow for personal connections and emotions to be formed.
Despite the astoundingly negative impact COVID has had on the industry, one of the more positive outcomes is that people do now stop and think more about what they actually need. I feel that the up and coming renaissance of investing more into the things we buy is becoming increasingly more important and I want to be part of, and promote this new post-COVID industry. I always try to take every opportunity to create locally sourced projects, highlighting the importance of textiles and social value in my local community through my work by working with independent companies and suppliers.
Having worked with a number of major high-street companies during my degree, it has become very apparent my career is not in a commercial fashion. For me, the process loses the personal element and instead becomes a mass production of identical garments. I wish to invest my time and my career in holistically sustainable trades, such as bespoke fashion, where the garments are of the highest quality, unique and created to be treasured. When garments are valued and cared for in such a way – it doesn’t matter about out of style trends or the latest fashion, if the garment retains its meaning, it will forever hold its purpose.
What is your plan once you finish your BA?
As mentioned, at the moment I am working with a bespoke fashion designer on live industry projects. I have worked for the brand for over a year now and my hope is that I will become an employee of a bespoke design studio dive straight into the industry. Working in a hands-on role will allow me to further develop and enhance the skills that I have gained from my degree as well as putting them into practice in a real live industry environment and situation. From wedding dresses to high-end couture pieces to womenswear collection, I will be given the opportunity to showcase my skills to the best of my ability whilst networking and building a reputation for my handcraft skills.
I want to enhance my own personal skillset in a wide variety of areas, from hand-rendered artworks to traditional textile techniques, to bespoke tailoring. I also plan to work with clients and learn about the unique experience offered to clients, offering gowns focused very much on the individual’s visions, and the opportunity for clients to be involved in the sculpting of their special outfit. I wish to prove myself to be an expert in my field, to build and develop my reputation despite the severe disadvantages of recent times. My goals are to become a distinctive bespoke designer, who relishes working closely with clients, sharing their personal journey and creating exciting, real-time designs, which reflect a client’s personal heritage or future. My career ethos has never been about “mass” produced fashion – my goals are to create unique pieces, investing in labours of love, and spending my time creating custom garments that would make anyone feel special, valued, and shout of quality design and attention to detail and care that has been invested into the garment.