My collection is about programming chance. I am creating chance procedures in knitwear that allow for variations to emerge.  The very nature of knitwear is so precise and technical, and so I am interested in exploring new ways to rethink knitwear that allows for a more blurred outcome that can not be anticipated. I am taking a process based approach whereby the technique will dictate the aesthetic. By not focussing on the final outcome but rather the process, fabrics are fluid, unscripted. 

Within my practice I think it is important to relinquish control over processes to allow space for uncalculated variations to emerge. By creating processes that can not be controlled, materials are given the freedom to evolve and change. The final outcome is always different.

EXACT REPLICATION IS IMPOSSIBLE.

I am working with knitwear as the fundamental foundation for all garments, not just knitwear. This means that the unpredictable nature of the knitwear dictates the silhouette. I see the potential for knitwear not only to exist in the traditional sense, but to actually inform the shape and silhouette of all types of woven fabrications. I am approaching knitwear as the inner structure of the garment, allowing woven garments that are typically very precisely formulated, to be freed of these pre-designed silhouettes.

The nature of the stretch knitwear techniques I am exploring all require a body to be activated as a garment. When hanging on a rack, the clothes will appear tiny, twisted and curled. The clothes do not appear like clothes, they have receded into another form. By using stretch knitwear, the clothes will only become activated by the wearer. Distorted images will become clearer when placed on the body. Text will be revealed and an intimate relationship between materiality and the body is made.