About Me
Hi, I’m Rachel De Souza a graduate from the University of Huddersfield
The creative and experimental exploration of the technique Shibori, inspired Rachel’s collection. The collection exhibits artistic intricacies with a deep meaning of ’unity’, that has been subtly articulated through traditional Japanese kimono inspired silhouette’s. Also, including textiles inspired by West African traditional textiles practices such as Adire.
My collection US is a concept of “unity without uniformity and diversity without division” (Jim,2019), that shifts focus from unity based on a mere tolerance of physical, cultural, social, religious, political, and psychological differences towards a more complex unity based on an understanding that differences enrich human interactions. With this collection, upon many other examples, I endeavour to set another example of how the unity in our society can create something of magnificence, through clothing.
INSPIRATION
My idea derived from interests in indigo dyeing and experimental approaches, which led to Shibori.
After many samples and trials of using an array of Shibori techniques to create my own design, I initiated the ideology of playfully combining conventional and unconventional techniques that, would put my message into practice through my collection. This collection had the purpose of demonstrating alternative solutions to efficiency and sustainability issues surrounding traditional methods of Shibori. Consciously taking into account the production process of the collection
I used contemporary methods such as digital printing enabled quality control and efficiency . I also decided to work with fabrics that are lightweight. Fabrics such as Linen, Linen blends and Cotton, are used throughout this collection. Cotton thread Embroidery by the Amaya machine is used throughout this collection as it maintains quality finish and gives the collection a more natural aesthetic.
MY WORK
PORTFOLIOS
DETAIL
I incorporated traditional and contemporary methods of stitch resist dyeing and textiles.
Having explored both the historical and cultural context of fabric manipulation, clothing, and costume in both Japan and West Africa; through the interplay of handmade Shibori techniques and digital media processes such as Photoshop, I was able to manipulate and still retain the authentic intricate patterns created without limitations. Most importantly, sustainability within the production process through digital printing had, provided flexibility in the choice of fabric which made it possible for more sustainable lightweight fabrics to be utilized. The application of digitalized embroidery machine, not only depicted cultural references to West African tribes but, also added some depth to the fabric.
"Unity without Uniformity and Diversity without Division"
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