Meet GFF Talent: Ruth Court, a fashion graduate from Herriot Watt University. Her final year collection is heavily inspired by the artist Kandinsky, as well as her interest in sustainability. “Kandinsky’s pioneering method of abstraction, as well as his ability to translate themes into contemporary terms, is why I feel incredibly inspired and motivated to use this art movement to approach fashion sustainability,” she says. Read more below!
What is the most valuable thing you have learnt at university?
Throughout these 4 years at Heriot-Watt I have really learnt how best to communicate my ideas with clarity, both visually and verbally. I have gained confidence in myself and my ideas, and have learnt how to channel that newly found confidence into my work. I believe that having the ability to express yourself in a way other people can understand is crucial as a designer and something I find so valuable to my practice now.
What was the starting point of inspiration for your final project?
The main source of inspiration for my collection came from Wassily Kandinsky, who has been a favourite artist of mine for years. I have admired his work for as far back as I can remember and it has a played a huge part in shaping my aesthetic style. When I took part in the ERASMUS exchange in my third year, I spent a lot of time in Paris. I visited galleries like “Centre Pompidou”, where I was able to go and see Kandinsky’s work regularly and those fond memories became the impetus for this collection. I wanted to use his form of abstraction to communicate the sustainability issues facing the industry today.
The threat of climate change is a uniquely 21st century problem, however every era has faced its own challenges, so I think there is much we can learn from the way that our predecessors such as Kandinsky who have used art and creativity as pivotal tools in furthering a movement. Kandinsky’s pioneering method of abstraction as well as his ability to translate themes into contemporary terms is why I feel incredibly inspired and motivated to use this art movement to approach fashion sustainability. I focused a lot of research on his “Composition” series and is what gave my collection the name “Composition MMXXI.”
I planned to not only consider issues surrounding sustainability as starting points for prints, but I also wanted to address them directly in my production methods. I planned to respond to the industry’s waste by creating a collection completely made from upcycled materials. In response to toxic dyes I decided to use natural dyeing methods, and responding to fast fashion I chose to hand-paint prints and create bespoke garments. These areas allowed me to gather an in-depth foundation of research for my collection.
What form will your final project take?
My collection takes the form of 6 A/W outfits of which I have made 2. It is made up of a selection of jackets, coats, trousers, a skirt and a dress. My silhouette inspiration came from Dior’s 1947 “New Look.” This allowed me to delve into different pattern cutting techniques as well as new construction methods in order to create that iconic shape. I designed tailored pieces using unconventional materials and fabric making methods. Construction was tough, but enabled me to create a contemporary collection that was still aligned within fashion history.
Working from home pushed me to experiment and changed the way I approached my design process. I did more sampling and toiling than ever before, and found new ways to do things without being able to rely on the tools of the studio. This led me to methods such as hand-painting fabric and using chicken wire to manipulate it. As so often happens, creativity is born out of limitation, and my collection illustrates that entirely.
As restrictions eased, I was relieved to be able to photograph my collection entirely. It had an incredible impact to truly see the garments as intended, tailored to the models. Creating an at-home studio and still being able to convey the desired message was hugely rewarding for me. I believe the obstacles faced this year has really made my collection flourish and bloom - I could not possibly have predicted the way that everything fell into place, and truly believe that the uncertainty of the last year actually fed into my collection in a positive way.
What materials have you used and how did you source them?
The materials for my collection are all upcycled. After researching different ways to source old textiles, I was drawn to the hospitality industry in my home town of Edinburgh. I contacted different hotels to find out what happens to their old linen, bed sheets, and towels, which led me to a laundry company “Elis” that handles the linen for many hotels in Scotland. After reaching out, they were kind enough to give me a pile of old linen that was destine for landfill – this was a hugely rewarding part of my research as I was able to save this plain white 100% cotton fabric from going to waste.
The blank nature of the fabric in colour and texture also gave me an amazing opportunity to experiment and develop different methods to create colour and texture. Towels, bed sheets and table cloths are all different weights and sizes, so gifted me a variety of possibilities of end uses. Similar to the first stages of a painting, I found myself facing a blank canvas, which definitely pushed my collection to become what it is. It was such an exciting way to kick start my collection and get my process started, and one that pushed my learning and development much more than if I had purchased new fabric unnecessarily. I think this is a testament to sustainability and up-cycling; transformation is possible for so many different old materials that would otherwise be wasted.
How has it evolved from your initial ideas and what have you learnt along the way?
My collection has evolved a lot. At first, I would say that I did not have a clear idea of what I wanted the collection to look like, so I really had to experiment with the fabric-making techniques for a while to explore different possibilities. I chose different photos for print starting points and began painting responses to them using Kandinsky’s style. Trying out different paints, brushes and compositions gave me a wealth of results to consider. I also delved into a deep exploration of natural dying processes, using different materials such as beetroot, turmeric, logwood, walnut, madder and cochineal.
I experimented with dying things in different orders and researching different ways to achieve certain colours or shades. I found I was drawn to bright, bold colours, and once I had explored different manipulation methods for the different fabrics, I was able to start designing. To start off, I was really expressive and abstract in my approach, and over time came to fine-tune my designs, all the while referring back to different areas of my research. I learnt the power of listening; having chats with family, teachers and friends gave me vital feedback that allowed my collection to evolve organically.
Furthermore, I learnt to trust the process and the journey I was on; I was allowing myself to experiment and make mistakes, and that is what enabled me to learn so much. Having not set or clear path at the beginning of this journey also provided me with the chance to be flexible and fluid – my research was broad and varied, which I think was a definite advantage. Although working from home was difficult, I do think it pushed me to create the work that I did and that I am proud of, as well as forcing me to believe in myself and my own thoughts and ideas.
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?
I felt it was important for me to create a collection with sustainability at the forefront. As a young designer, I wanted to feel confident that I was doing all I could to generate as little waste as possible, which is why I knew creating an upcycled collection was for me. I was inspired by brands that we’re able to turn upcycled materials into beautiful high-end garments with a unique story behind them. I felt determined in this collection to show the power of sustainable choices and natural dying, which can completely transform old materials and give them new life and meaning. I truly believe sustainability is the future for fashion, and this belief was so strong for me that it was only natural to have it be the main focus of my collection.
What’s an aspect of the fashion industry that you’re passionate about fixing or having a positive impact on?
As my collection and research illustrates, I am passionate about sustainability at every level, not only materials but production and designs. I think the industry is starting to turn in the right direction but there is still so much that we can innovate and improve on. Ever since I was young, I’ve been fascinated by the process of creating something new and beautiful from older materials, and I think creativity really blossoms in that environment.
What is your plan once you finish your BA?
I am open to whatever happens next, and am excited to discover my next chapter where I can continue to learn and grow. After I graduate, I will be looking for an internship in an environment where I can learn from experienced designers and teams about tailoring, bespoke garments and even couture collections. I dream of returning to Paris and completing an internship for a brand there, and hope that in the near future I can fly the nest from Edinburgh and discover life and work in a new place. Whatever comes my way, I am excited to learn more about fashion and continue my journey as a designer.