We sat down with Sophie Evans, a student at Birmingham City University. She has just completed her textiles degree, and we wanted to have a chat about her experience at university, and plans for the future…!
Hi Sophie, thanks for chatting with us. What’s been the most challenging aspect of your textile degree so far, and how have you overcome it?
I think the most challenging aspect has been self-doubt. My ideas tend to be quite conceptual, and I usually interpret briefs in a more abstract way. Although I now recognise this as a strength, it has been frustrating at times trying to develop my ideas within the timing and criteria of uni modules. I have had a mentor via DSA through my final year, Ann, who has been a blessing. Each week we discussed how I am progressing and planned out what to get done for the following week. Someone to touch base with and share any problems I am facing, made things feel clearer in my head, so I could have confidence in my work.
Are there any particular modules or areas of study within your textile degree that you’ve found especially surprising?
My favourite module was surprisingly my dissertation, which I didn’t expect, seeing as it is writing based. I chose to research and write about how creative subjects are (well, aren’t) prioritised within England’s secondary education system. I felt passionately about the topic and enjoyed connecting the dots between the various reports and articles. It has really motivated me to explore how I can make creative outlets more accessible. My dissertation was also one of my highest scoring pieces of work, so I am really proud of what I wrote.
Have you had any opportunities for industry placements or collaborations during your degree? If so, how did they influence your perspective?
During my second year we had a collaboration with the British Red Cross across the faculty’s second year students. I worked in a group with students from other fashion & textile courses to create an upcycled clothing brand. In those few weeks, I saw a wider view of sustainability, fashion and marketing. I had never realised how much goes into creating a brand! It was also great to display and present our work to the British Red Cross and get feedback from them.
What a fantastic opportunity! What initially drew you to study textiles? Was there a specific moment or experience that sparked your interest?
I think one of the main reasons I pursued a textile degree is because of Mrs Bell, my textiles teacher at secondary school. She always encouraged and pushed me to do my best work. As someone who hated secondary school, the textiles classroom was one of the only places I used to look forward to going. In there, I felt comfortable and supported, even if I broke a machine needle or lost all the photos for my coursework (Sorry Miss!).
My mom has always been creative too. I remember doing papier mâché together, her teaching me to sew, us going to jewellery making classes. We have always had something creative going on, so a textile degree felt quite natural to me. She is always interested in what I am making or designing, even if she has no idea what I’m on about!
What do you love most about working with textiles? What aspects of working with textiles do you find most rewarding?
I love the whole making process. Since I joined BCU, I have watched almost every stage of textile production. Within my course’s year group there are spinners, weavers, knitters (that’s me!), dyers, printers, embroiderers, beaders, even people who make biomaterials! Our workshops are also next to the fashion and garment technology rooms, so we get to see that side of the process too. It is wonderful to be surrounded by so many creatives, and watching how much time and effort goes into final designs.
I find it fascinating how a ball of yarn can become so many things. My designs and practice are always process led, regardless of my original intentions. I tend to have a vision of an outcome, so ask myself “what can I do to get there?” Theres lots of thinking and problem solving which I love. I also find it baffling how one tiny change in your process can have an entirely different result. Although the outcome isn’t always important to me, it is very rewarding to cast off a piece and have an “I made that!” moment.
Are there any particular textile artists, designers, or movements that have significantly influenced your artistic journey?
I love Sheila Hicks! The vast scale she works at is incredible and something I admire. Her view on textiles fibres and processes as an art form is completely different from what you learn about art in school. I wish more people knew about her. This link is a short video where she talks about her work
I also visited Copenhagen in March, and still think about it at least once a day. The overall attitude of knitting and creativity feels completely different and more welcoming over there. The city, and the yarn shops, are beautiful, with a very relaxed and welcoming atmosphere. I would love to visit more of the Scandinavian countries for inspiration.
Beyond the creative aspect, what do you think is the importance or impact of textiles in society today?
When I tell people I study textiles, I usually get one of two responses. The first, ‘so you make clothes’ or the second ‘oh so your whole degree is cutting and sticking’. Although it can involve these, it is so much more. Textiles is everywhere, whether people realise it or not. From your bedsheets and outfit of the day to your office carpets and chair upholstery, to there will be some form of textiles wherever you look. People seem to be quite naïve of how much they actually interact with textile forms.
When I wrote my dissertation, I researched the positive implications textiles and creativity can have in various ways. I found reports on how it strengthened communities, built transferrable skills, improved mental health, and so much more. Having access to creative outlets is much deeper than being able to knit a jumper or paint a canvas for your wall.
There is also so much culture and history woven into textiles (pun intended). There’s the traditional designs and processes and the impact it has within cultural changes. I think my favourite fact is how the binary codes used for woven patterns influenced the development of machines and computer science in general. (https://news.sparkfun.com/6411 is an article about this)
That’s so interesting. We know how important it is to have a creative outlet, especially when it comes to creating positive mental health! Could you tell me a bit about your final project?
My final major project is entitled Purl and Play. It is a collection of four traditional board games entirely hand knitted. I chose chess, backgammon, mancala and nine men’s morris. These are all fairly straightforward games that people of all ages and abilities could get involved with. Each design is made to be the size of a placemat, so they can be used within table settings decoratively. Because so much of my process was charted and technical, I also created accompanying pattern charts for each board, which I am now currently editing the written instructions for!
Where did you draw your initial inspiration for this final project? Were there any specific visual, cultural, or personal influences?
I originally started with the idea of being a ‘Jack of all trades’ and using the Jack playing card to represent this. This idea came from the fact my own practice doesn’t feel tied to one specialism or skillset. Over the weeks and months, this evolved to board games and their rules.
The other main influence for me was the ‘cultural landscape’ we live in today. Since the Covid-19 pandemic, there are fewer interactions and connections with one another—a screen seems to always be involved. I wanted my project to encourage socialising with one another in person. Board games felt like a logical approach, as players have to interact with one another and the game itself. I also made the decision to entirely knit by hand for my FMP, even if it took me hours upon hours!
Can you walk us through your creative process, from initial concept to execution?
I started with the concept of one large patchwork-style Jack playing card, made up of smaller pieces from various practices. However, I struggled with finding imagery that inspired me and had enough variation. One thing I really liked was the historical and traditional designs of playing cards. This led me to start looking at other ‘traditional’ games. Board games stood out to me because of how hands-on they are. When I think of examples like chess and backgammon, I picture hands moving across the table, moving the playing pieces around. This style of gameplay also transferred to the other games I chose to develop. Something else that I felt drawn to was the materiality of these boards. They tend to be very flat, structural and rigid; a huge contrast to the texture, drape and flow textiles often have.
One of the lecturers mentioned the connection between gameplay and rulemaking during a tutorial, which inspired me to create my own ‘rules’ for the development and testing portion. I decided to hand knit everything for this project, which meant a lot of unravelling! Because I was trying to replicate the board designs, there ended up being a lot of maths and charting stitches and colour-work. Once I had selected the samples I wanted to bring forward, it felt like a shame to let this part of the process go unacknowledged. This meant even more gauge-swatching and calculating to end up with the right measurements of the final boards.
The process makes me miss education! How do you overcome creative blocks or moments of self doubt during a major project like this?
Usually speaking to my lecturers in tutorials. Poppy and Jane have both cheered me on from the sidelines the whole time, and I am so grateful for their support. They never shied away from my unconventional ideas or approach but helped me tackle problems in a way that worked for me.
They sound so supportive, just what you need! 😊 What are your plans after you graduate from the Birmingham City University?
I want to do it all! Initially, I would like to work on starting to build an accessible creative community in and around the Birmingham area. There are places and events that exist, but they are so hard to find! I would like to focus on people in their 20’s and 30’s, as I feel like we are often ‘missed out’ by existing organisations.
Do you see yourself pursuing a career as a textile artist, designer, or perhaps something else entirely within the industry?
I’m not entirely sure, but I quite like the idea of being some form of educator. I think there is a lack of accessible creative outlets for people of my age, which is something I want to make happen.