Connor's FMP plays with 2D and 3D to create garments teetering on the brink of the real and the digital.
Often experimenting with line, shape and perspective, Connor's work borders on graphic design - using digital methods and flipping to and from the laptop and the knitting machine, his aesthetic heavily utilises formula and technicality.
Outside of my degree, many of my friends and family pursue careers in computing, engineering, and mathematics – this project is an honest effort to merge what I see as the core values and inherent vanity of fashion with a more clinical attitude. I like to see fashion design as the marriage of the artistic and the utilitarian, and I wanted to approach fashion and the Romantic tendencies I have when I design with the same technical precision my peers exercise when they’re coding or working on motorbikes.
The aesthetic, but also the function of computers became a large part of this process: I looked at old Gameboy games from my childhood as inspiration for print, and played with patterns in Illustrator, using Brutalist architecture as a blueprint for the angles and tangents. I attacked the research from the perspective of translation, and of learning a language – how can I examine a machine’s output and convert it to not only a visually successful, but also a functional outcome?
Taking cues from old arcade fonts and the many rules they had to stick to in order to work both in-code and on-screen, my garments utilise a very specific shape language throughout: 45-degree lines, 90-degree lines, and circles. All of the patterns were built using this method (digitally, for the sake of perfection – obviously) and because of this, the garments I have made can also lay flat, granted form by the wearer. This is not only 2D-to-3D in its truest form but also allows plenty of options for styling and sizing.