Open Night of the Exhibition

Thursday 22nd June

Final Evaluation

On arrival I was interviewed by media and fellow students on my work, because of their interest in the project I had produced.  Due to the intensity of questions and the large crowd arriving as the doors opened this was challenging, as crowds listened in to the interviews taking place. By doing this it brought back a sense of reality, as designers would carry out interviews on a daily basis about their work. This gave me experience in this by being placed on the spot so suddenly.

Screen Shot 2017-06-23 at 12.10.50

View the interview at:

As I hovered round my exhibition piece I was able to answer the questions that viewers had on the work, by explaining the reasoning behind my project. By doing this it gave me a visual on the success of my work, as the audience was accurate in understanding the work exhibited. I believe that this is an outcome I would deem successful, allowing me to believe that my final design was something that expressed the development of the project

Processed with MOLDIV

Overview of the Exhibition

Viewers where interested in talking about the work, explaining that “it is good to be able to talk to the artist and understand the concept behind their own work to see the comparison between mine and their interpretation of what they have produced”. One lady explained that “I have touched everyone’s exhibition piece, but there is something disturbing about yours that takes me back. I just can touch it. You’ve certainly got that point across”. Being overwhelmed by the number of positive comments from everyone I was able to speak to, I am very pleased with the outcome of the project and exhibition night.




Final Exhibition Space

Monday 5th June

Hanging the show was completed today, ensuring that all the garments have been safely hung so that I could guarantee they were securely in place. Following the plan that I had set in stall, the design was successful executed with the stronger brackets which were now in place.

Issues that I faced included the weights of the garments when together, as well as them rotating on the string. This was resolved by using stronger brackets and zip ties. As well as those issues, I decided to remove the pamphlet from the exhibition, as the work itself is strong enough to be self explanatory. Furthermore, when testing the pamphlet in the exhibition space, it was a distraction within the space. Therefore as a result this was something that I decided to submit.

Finishing touches that will need to be added before the opening on Wednesday 21st at 6pm will be the milk substance that needs to be mixed in the milk dress due to the liquid separating. As well as that a picture of pea glue water and acrylic will also need to be poured into the milk bottles. In order to do this I will arrive at the venue half an hour earlier than the show starts to ensure that everything is accurately in place.

Once the images had been printed on to A0, I was able to mount them to improve the quality of the images finish before displaying them in the corridor. This added to the total costings of the project adding £33 to the total resulting in a final costing of £157.96

Now that the images are up and displayed in the corridor, To ensure that they stay neat and undamaged, we covered the images with paper to protect them.


Overall from this process of designing and laying the exhibition, I have been tested by issues that I have faced that potentially would of effected the final outcome of my display. It has allowed me to see the exhibition in a larger perspective, enabling me to look for alternative ideas and solutions to my problems to resolve ideas to make them happen the way I had planned.

I am really pleased with the outcome of my exhibition, as it feel that the design is simple but affective, showing the light of the topic that I am trying to express through the garment designs.


Olivia Kay Rigby

Candidate Number 123353
ULN 6173279915
Student Number 20271193


Textiles Fashion
Project Title UK 181910 1o 1220


The Preparatory Work

The initial theme behind my project was nostalgia and how over the years of growing up surrounded by the farming industry, my perceptions on what we produce had changed with the further development of my knowledge around the fashion trade. Through media coverage and society’s views, the process behind farming has been severely targeted in a negative light, showing the unhealthy and discomforting elements of animal welfare. However, as my project developed and I gathered my research, I found that I was looking at the animal cruelty behind factory farming. The result of this allowed me to understand the need for the family farm and how this has supported us over the generations, but also the love and care my family have for all their livestock. As a result, the final theme of my project captures the views behind the farming industries, its links with the fashion trade and its impact on future generations.

To ensure that I focused on my original theme that I had explained within my proposal, I proceeded to research the facts that I was already aware of and concentrated on issues in relation to the increase in the demand for dairy produce in China along with Stella McCartney’s support towards the meat campaign held in London by PETA. By gathering quotes and facts from these websites, it set the direction and scope to allow me to expand on my original ideas and develop the platform I could take with my project. Through projection and material manipulation this research allowed me to design and produce my final garments.

I used a variety of different methods to gather information, sources included studying relevant websites including subscriptions and associated members of the farming industry, these included sites such as PETA, Pinterest and Facebook. Further research from individual artists, campaigns and news articles allowed me to develop my final product. Primary research came from interviewing close relatives on their experiences of dedicating their lives to farming along with the collation of materials that allowed me to form ideas supported by images that I adapted for my final pieces.

My initial ideas came from collecting information, analysing and evaluating the research I had studied. I distributed cards to my peers to gather feedback on their views and this enabled me to develop my mood boards. Combining this I was able to adopt ideas through embroidery and paper cutting, which I experimented further through the use of projection. I also explored material manipulation and felting to build my skills and understanding of these processes that became vital in the development of my work. These methods allowed me to see the potential development through the formulation of ideas and how I could enhance my projects theme. Through experimenting I produced materials which reflected products replicating for example milk sachets designed through felting and liquid latex which formed my final three exhibition garments.

As my research developed I continued to change and adapt to the overall project. From initially looking at animal welfare and the social understanding of animal cruelty within the industry, the end product mainly linked into the views behind the farming lifestyle and the change across the political landscape.  Over the course of the research it allowed me to form a more holistic view and see the impacts to the farming industry which led me to change my thoughts on the images I wanted to portray. The outcome I wanted to present was to highlight through design the unnecessary cruelty without being judgmental to the farming industry.

At first I hadn’t been inspired by any particular artist however as I progressed and developed the production of the paper cut outs I reflected on the work by Ali Harrison who specialised in cut outs of human body parts. This artist initiated the development of garments which sparked my imagination for trials with imagery and projection. It was from this point where her work led me to research further ideas from other artists which included Kim Deguara who used the idea of displaying objects alongside garments, this was how I wanted to present my final pieces from each of the industries I had focused on. Various items collected and used were original products, however if they deemed not practical to demonstrate I adjusted by using molds and plaster to recreate objects.

Throughout my project I carried out various experiments using a number of materials to support my theme and connect with my project. Working with typography I studied the ways that I could present the text and explored embroidery, painting, computerised and hand written text, to see the variety of different impacts for the final pieces I wanted to produce. I felt each of these methods worked well throughout different stages and resulted in one garment illustrating hand written text as the impact became more eye-catching and brought the element of discomfort. Further experiments including imagery and projection which initially hadn’t been successful around designing the paper cut out garment. This trial consisted of projecting the patterns I had produced onto the paper cut garment, which resulted in editing the images to improve the quality as computer bar tabs and surroundings were visible on the garments. The most successful techniques I experimented with were carried forward to my final garments, which involved: felt, milk sachets and liquid latex.

Experimenting using a variety of processes has been valuable for me in delivering my final garment as it allowed me to expand on the basic ideas. It also enabled me to see how crucial the thorough planning and production side of the process is. Reflecting on previous projects this approach was neglected, the success of my final garment in this project was making sure the most appropriate materials were used to design and pay compliment by relating back to my chosen theme. The production and presentation of the pamphlet I designed was very brief and I would have liked to have created a more detailed booklet designed similar to the copies of farmers weekly and PETA. This also could have been promoted and expanded into media coverage, and benefited me around gaining more IT skills and computer knowledge. I would also have welcomed the use of illustrator to produce digital garment designs, this might have allowed me to have an insight in how to produce realistic images.

The Final Piece

A selection of materials was experimented with to see how the methods and visual image of each of the materials could be manipulated to suit my theme. The final materials selected where specific to the garments purposely looking at the meaning of the garment, the materials that could reflect the industry and how it could be used within a garment design. Firstly, I had selected milk sachets. These were used to represent the milk being collected from the dairy farms. For the second garment I chose liquid latex. When dry, it created a skin toned plastic with elasticated properties, suitable to use to represent meat joints. Finally, I used merino wool because of its fine soft texture that allowed me to felt different combinations of colours together to create patches of felt that represented flesh and blood from animals being skinned alive.

Due to rigorous experimentation all the materials I had selected fulfilled the needs of the garment design. However, issues did occur throughout the production process. Initially the milk sachets were successful, but due to the weight of the garment and the liquid being contained within each packet, the garment became vulnerable and fragile to any knocks or pressure. This resulted in leaks, which became more and more difficult to resolve the closer I became to finishing the garment. Furthermore, tearing issues arose when using the liquid latex as these layers were very fine, I adapted using a stapler but this impacted on production time.

Each of the garments had their own meaning but were all representative of animal cruelty.   Garment one was the milk sachets dress. The hand written typography tattooed on the garment explained the issues within the industry and the distress caused to the animals.

Garment two represented the meat industry and I used the structure of the human body to create “joints of meat”, I made these joints to stretch around the figures. The design of the fur cloak was to represent the fur industry with the focus that a number of countries find it acceptable for animals to be skinned alive for their coats. As a main focal point I designed a reversible cloak to imitate the outside and the inside of an animal’s coat, created a disturbing image to the audience.

The final three garments and their products that I have designed, I feel have represented the project I have been researching accurately. I believe that the designs interpreted each industry clearly, making a clear link to the topic. My most proud element of my final piece is the fur cloak because of the elegancy that I’ve demonstrated in the garment design, as the structure allows an elegant drape as well as the materials leaving a luxurious texture. However, because of the use of colours, this has turned this garment from luxurious, to disturbing, it brings back my theme and the realism adding context to the design. The idea is subtle but makes an immediate impact.

If I was to change any element of the final piece it would be to spend more time on the pamphlet I had produced. I believe this could have promoted my project further and explained the serious message I wanted to deliver along with my designs. Production of a magazine would have enhanced my exhibits along with corresponding work produced throughout the course, such as photoshoots and mood boards. The pamphlet produced lacks explanation and I would have loved to have spent more time designing and planning the layout.

To present my final piece I decided to take inspiration from both the UNIQLO window display on Oxford street, London, as well as the painting produced by an unknown artist that I stumbled across on Pinterest. Connecting these two ideas together, as well as gathering materials from the farm I created a design that interpreted the image in the picture, which represents animals hanging as meats in a butcher’s shop or slaughter house. Displaying the garments hanging from rope, piping and chains, I placed the objects on plinths directly underneath the garments that they were representing. It was this idea that was taken from UNIQLO.

I feel that the projects outcome was successful and related to my initial proposal around nostalgia, allowing me to explore and gain a better understanding of the current issues behind the welfare of the animals and the difference in cruelty between factory and free range farming.  I’m confident I’ve represented my views through my work, the garments I’ve produced and the valuable insight researching and using materials through experimentation.

Harvard References

Friday 2nd June


Anne. (2015). What NOT to Wear to London Fashion Week. Available: Last accessed 27th March 2017.


Hart, G. (UNKNOWN). UNKNOWN. Available: Last accessed 12th March.

Mroz, M. (2017). Intricate Cut-Out Artworks Of Ali Harrison. Available: Last accessed 18th March 2017.

Dodds, L. (2014). Student stitches ‘I Love You’ into skin of live dog. Available: Last accessed 22ND March 2017.

UNKNOWN. (UNKNOWN). WELCOME TO ABUSE Animal Abuse. Available: Last accessed 27th March 2017.

UNKNOWN. (UNKNOWN). Land Requirement for Dairy Farm. Available: Last accessed 28th March 2017.

UNKNOWN. (UNKNOWN). Dairy Farming in the UK. Available: Last accessed 28th March 2017.

UNKNOWN. (2010). Human Meat Packages from PETA. Available: Last accessed 1st April 2017.

UNKNOWN. (UNKNOWN). Last accessed 5th April 2017.

Jackel, N. (2013). THESE ARE THE HAPPIEST COWS YOU’VE EVER SEEN (VIDEO). Available: Last accessed 4th May 2017.

UNKNOWN. (UNKNOWN). Animal Cruelty Paintings. Available: Last accessed 24th May 2017.

Moody, B. (2017). VICTORY! GERMANY IS CLOSING DOWN ITS LAST SIX FUR FARMS. Available: Last accessed 27th May 2017.


Silence of the Lambs, 1991. Film. Directed by Johnathon Demme. USA: Orion Pictures.


Donnellan, Craig (2002). Looking at Vegetarianism. Cambridge: Cambridge: Independence. p1- 42.

Wilcox, C (2004). Vivienne Westwood. London: London : V & A. p86-147

Magazine Article

Price, R. (2017). How Harper Adams aims to maximise dairy beef growth rates. Farmers Weekly. p1-3.

The majority of these references allowed me to gain knowledge of world around us, enabling me to see how it works. From seeing PETA and all the cruelty in the world, to the regular Farmers weekly on how they work to improve the industry and help it grow. It allows you to see two sides to the industry, which is the cause of this split between the worlds perceptions on the industries across the world.

These different stories that occurred over the years has allowed me to understand why I chose the project. It allowed to once again understand why I understand the need for the business. Not only for the products gained from it, but the family earnings that have affected not only the big industry’s but the small local farm I have grown up on. It is a huge industry that the world depends on.

Some of the other websites, have sparked to ideas that I have experimented with throughout the process of development. One of the main websites was Pinterest, where I stumbled upon Ali Harrison. She specialised in intricate paper cut outs. This led me to my projection garment where I used images of the meat scans to create the patterns which I later cut out of the paper.

Another artist that intrigued me into this topic initially was Gale Hart. She was a painter who produced a striking image of a man who is thought to be slaughtering a pig. However, as the images where only silhouettes filled with colours it, led me to my first illustrations of the animals that I hand crafted using Indian drawing ink, which I then manipulated on the computer to create animal drawing filled with their products.

Silence of the lambs was the main influence within my work for the meat garment, which was driven from the idea of the skin of a human being sewn back together to represent a human joint. This uneasy object, inspired initially by PETA meat packaging campaign and Kim Deguara’s casts, developed to be a final piece produced from the drive of this project.


Friday 26th May

Over the project I have purchased items that I have need in order to produce the work I have designed. Where I could I collected materials that were free, by sourcing them from the farm and using materials provided by the college course.

Item Price (£)
Chicken 2.49
Glass Jar x2 4.98
Merino Wool 39.60
Brackets x2 14.94
Pamphlet x 3 2.40
Plinths x2 13.00
Paint Tubes x 4 4.00
Under garments 24
Chain 3.94
Piping 4.78
Meat 8.33
Heart 2.50
Total 124.96

Further costing that will be added to this list will be the images I will be displaying at the exhibition. On average this will add £33 to the current total price for three A0 poster prints.

By doing this it has given me an overview of how to manage my costing in order to stay cost efficient. This skill will improve my transaction from this current course to London College of Fashion, as I have will be able to successfully monitor my cash flow throughout my upcoming project whilst at university.

Finalising the Plinths

Friday 26th May

Once the holes where filled, I played around with the objects to see which ones where better on the white plinth and brown plinths, as I felt that the brown added the rustic effect of the farm. However, this made it difficult when arranging, because this would impact the order the garments would be displayed in. As a result, I came to the conclusion to paint all of the tops white.

Overall I believe that by choosing to have all the plinths white was the better option, as the changes in the plinths would create a distraction, which would divert the audience away from the work on display.