Reflection

Exploring different elements of how blogs are structured and compromised has developed my knowledge surrounding the concept of a blog. Designing this blog has been inspirational and fascinated me into making the blog more personal to me by choosing the colour and design of how it should be structured. In addition, editing and changing different formats of images, texts and layout of my blog to give it that professional overall appearance.

FIGURE 1: Zoe Sugg aka ‘Zoella’

Having watched different vloggers and how they develop their videos into blogs of their own to create a purpose and idea for each blog making it more personal to them and what they are trying to portray. One of which is Zoe Sugg aka Zoella, who creates videos on YouTube of Fashion, Beauty and Cosmetics it inspired me to see the different ways in how creative a video can be developed into multiple blogs showing the whole purpose of her ideas and coordinating the colour and structure of her videos into her blogs.

FIGURE 2: Colleague Bhaggy Mohan’s Blog

Designing my first blog, I explored some of my colleague’s blogs, one of which caught the eye the most was Bhaggy Mohan’s blog. Bhaggy has bold and consistent colour and structure of her blog throughout and has relevant areas within her blog to illustrate her ideas and concepts of each blog to show the connection between the image and information she is trying to explain.

FIGURE 3: My Own Blog

Creating the ‘About Me’ blog was simply about myself and one of the easiest blogs to complete. Whereas the ‘Textile Tradition’ wasn’t as simple and I believe more complex to go into depth about my chosen topic as my knowledge surrounding ‘East Africa’ wasn’t so strong. Through the process of this blog it developed and I began to explore more in how Kanga designs were expanded over the global market. The ‘Family Photograph’ chosen from the 1980s of my late uncle and ‘Museum Object’ which has enhanced my analysis with the more cultural side and picking an object with a meaning.

Bibliography:

FIGURE 1: https://www.zoella.co.uk/

FIGURE 2: https://bhaggyblogblog.wordpress.com/

FIGURE 3: https://aaishahussain.wordpress.com/

Word Count: 347

 

 

 

Family Photograph

FIGURE 1: Mohammed Hussain. 1985 (Own Photograph)

In the photo above is my uncle Mohammed Hussain from my dad’s side of the family, a pickup driver in Dubai who was working abroad for over 35 years taking over my grandfather’s place who sadly passed away in 1996 to carry on the family generation. My uncle was originally born in Peshawar, which is the capital of the Khyber Pakhtunkhwa and the language spoken in this city is known as ‘Pashtu’ growing up alongside 4 brothers one of which is my dad and 3 sisters. The city in itself is very mountainous and full of greenery having visited the city myself 9 yrs. ago. The photo was taken around 1985 and due to the climax of the weather in such a hot city he was wearing dark shaded sunglasses, flared loose trousers with a short sleeved top with some distinctive writing in scripted within the top and a hat to co-ordinate with his outfit and suitable for the atmosphere.

     FIGURE 2: University of Peshawar       FIGURE 3: Peshawar, Khyber Pakhtunkhwa

During his time working in Dubai he explored the different aspects and culture of the capital city of the United Arab Emirates (UAE) known for the luxurious lifestyle Arabs thrive on within the food, shopping and travel expenses they can afford. My uncle was very trendy and became more knowledgeable over the time working within Dubai how it was all structured and developed as city through their lifestyle. His job required him to travel from Dubai to a city called Makkah, Shajarah working for a factory back and forwards in his truck.

One of the oldest markets in Dubai known as the Souk market, Gold Market my uncle was lucky enough to visit, which has a significant amount of tourists visiting contributing within the retail markets. Dubai is most popular for its shopping centre and is the capital in the Middle Eastern region (Mehta.S, Jain.A, Jawale.R, 2014).

FIGURE 4: Jumeirah Beach Residence in Dubai

Having lost my uncle on 4th November 2014 to cancer unfortunately further questions into what he explored round Dubai like fashion, everyday lifestyle activities and travel, I asked my Dad, brother of my uncle a variety of questions here are some stated below:

-Why did my uncle decide to immigrate from working in Peshawar to Dubai?  Better opportunities and treatment in the city and more chance of exploring something new and exciting.

-When did he move to Dubai? He moved to Dubai when he was 18 years old to carry on the generation alongside my father.

-Where did he buy his clothes from? He brought his clothes from the Dubai shopping centre called Mall of the Emirates and had to keep smart and casual part of his job too look professional and not have a scruffy appearance.

-Where was he sitting in the photo round Dubai? He was sitting near a pillar by the Dubai shopping Mall called Mall of the Emirates.

FIGURE 5: Typical features of a Pathan Child

 

 

 

 

 

 

My uncle wasn’t the type to wear traditional Arab clothing and wore most the time western clothes within is day to day life in Dubai. Originating from Peshawar my uncle always kept to his traditional routes and returned back to his home town every year. Being known as a pathan meant that most people who originate from there are strong, tough and independent people. Their main features are fair-skinned, light eyes and well-built body all of which my uncle represented. The area in itself is all environmental with mountainous views and fertile land. (Kureishi, R. 1997)

Islamabad is another city 177km from Peshawar, North West Frontier Pakistan and was constructed in the early 1960s surrounded by loads of hills. The traditional clothing within this city is a long dress or suit known as a shalwar and kameez for either women or men depending on the weather the layer will either be heavy or lightweight. The clothing round these cities are very modern and sophisticated to make sure the women are covered from the men (Yousaf, N.2001).

Bibliography:

KUREISHI, R. (1997) The New Pakistan, London: Bell

YOUSAF, N. (2001) Import & Export of Apparel & Textiles, Liverpool, NY: Nasim Yousaf

MEHTA, S., JAIN, A. And JAWALE, R. (6th Dec 2014) Impact of tourism on retail shopping in Dubai, Singapore, Found on: http://search.proquest.com.proxy.library.dmu.ac.uk/docview/1618938046?accountid=10472

Image Reference:

FIGURE 1: Mohammed Hussain. 1985 (Own Photograph)

FIGURE 2: University of Peshawar [Online Image] Available from: http://www.uop.edu.pk/ [Accessed 30/11/16]

FIGURE 3: Peshawar, Khyber Pakhtunkhwa [Online Image] Available from: http://i2.cdn.cnn.com/cnnnext/dam/assets/141216095948-peshawar-map-story-top.jpg [Accessed 30/11/16]

FIGURE 4: Jumeirah Beach Residence in Dubai [Online Image] Available from: http://www.visitdubai.com/en/articles/dubai-must-see-attractions [Accessed 30/11/16]

FIGURE 5: Typical features of a Pathan Child [Online Image] Available from: https://s-media-cache-ak0.pinimg.com/736x/87/18/b4/8718b456eb061753d6fed414b3243d9f.jpg [Accessed 30/11/16]

Words:677

Object

FIGURE 1: Turban ornament, India and Pakistan, early 18th century, set with rubies, emeralds, pale beryls and diamonds.

During October 2016 I visited the London, Victoria and Albert museum founded in 1852 with objects as old as 5,000 years, exploring different artefacts and objects around a variety of countries surrounding Fine art, Architecture, Textiles, Fashion, Pottery and many other areas related to Art. (Victoria & Albert, n.d.) The Turban ornament was created in India and Pakistan round the early 18th century designed with different types of jewels such as rubies, pearls, emeralds and diamonds. India is surrounded by a vary of religions one of, which resembles a traditional clothing worn by Sikhs known as a Turban pinned with a headpin like the one shown above. The Turban originated from Punjab, the city of Amritsar. (Cole, W. O 1973)

A turban can be worn by both men and women and covers the long hair to make sure their appearance is clean and tidy, known as ‘kesh’, although they can use a comb known as ‘Kanga’. The turban is very important in the Sikh culture and is taught within the Guru Gobind Singh, creator of the Khalsa. The ‘Khalsa’ was one of things most Sikhs should follow and they believe any rules that influence him through dress sense they should follow. The turban can have many meanings and can remark family friendship.  The turban comes under the ‘five Ks’ relating to a rule from Sikhism, many Sikhs start wearing the turban when starting school. Although in India the main starting age is 16-18 to make it easier for them to understand how they should wear it. The turban relates to status and everyday actions in the East and the colour is usually white, red, blue or green. (Cole, W. O. 1973)

FIGURE 2: Looking Beyond the Turban

India had many influences within its culture and society, one of which is when Islam came into India and developed the education within science and arts adapting within the lifestyle and civilisation in India. (Kureishi, R. 1997)

FIGURE 3: Kalgi Sarpech-Turban Ornament

The turban ornament like the one above comes to the front to hold it together they are very pretty and encrusted with different pearls and a diamond stone on various ones, all turban ornaments are emphasised with originality and have different styles to each one. (Sarpech, K.) Indian jewellery evolved over 50 years and the change within their designs had an impact on the way jewellery was created. The main feature the stone was always inputted within the jewellery like the turban ornament, although the stones that were worth less of value were sold off for less than what they invested.  (BHUSHAN, B. J. 1964)

FIGURE 4: An 18th century Indian emerald and diamond sarpech, Deccan, late 18th-early 19th Century

In the above picture is one my favourite turban ornaments I like the emerald stones dangling from the jewellery and the other clear diamonds encrusted within. I think each ornaments represents something and are all designed for modesty for both Sikh men and women. The main use for the ornament is to pin through the turban so the hair is covered and tucked in neatly and to prevent young boys from being bullied in school for the length of their hair. (Cole, W. O 1973)

Bibliography:

BHUSHAN, B. J. (1964) Indian jewellery, ornaments and decorative designs, Bombay: Taraporevala, 2nd ed.

COLE, W. O. (1973) A Sikh family in Britain, Oxford: Religious Education Press

Kalgi Sarpech-Turban Ornament [Online], Available from:http://jewellery-indiaa.blogspot.co.uk/2009/08/sarpech-ornament-for-turban.html [Accessed 11/12/16]

Kureishi, R. (1997) The New Pakistan, London: Bell

VICTORIA & ALBERT MUSEUM. (n.d.). About Us [Online] Available from: https://www.vam.ac.uk/info/about-us [Accessed 10/12/16].

Image Reference

FIGURE 1: Turban ornament, India or Pakistan, early 18th century, set with rubies, emeralds, pale beryls and diamonds [Online Image] http://www.vam.ac.uk/content/articles/l/life-and-art-in-the-mughal-court/ [Accessed 09/12/16]

FIGURE 2: (2013) Looking Beyond the Turban [Online Image] http://www.wupr.org/2013/11/20/looking-beyond-the-turban/ [Accessed 09/12/16]

FIGURE 3: Kalgi Sarpech-Turban Ornament [Online Image] http://jewellery-indiaa.blogspot.co.uk/2009/08/sarpech-ornament-for-turban.html [Accessed 10/12/16]

FIGURE 4: An 18th century Indian emerald and diamond sarpech, Deccan, late 18th-early 19th Century [Online Image]http://www.alaintruong.com/archives/2012/11/01/25477908.html[Accessed 11/12/16]

 

Textile Tradition

When the Kanga first began it was simplicity and plain designs, overtime the development in the designs became more elaborate and vibrant to create a meaning or purpose behind the piece created. Kanga East African textiles are influenced from social and political issues from Tanzania in some of their designs (Ong’oa-Morara, R 2014), produced from the 1950s in Tanzania, Kenya and countries in Africa. The demand for the printed cloth expanded with companies from the UK, India, Japan and the Netherlands producing their printed cloth in East Africa (Hilger, J.1995). The designs are originally hand designed and produced in small sections, further developed and embellished on a computer and then is transferred to roller printing, which is then sold on to Swahili women who tailor them into their own clothing (Spring, C. 2012).

FIGURE 1: Paje, Zanzibar, 1994

Kanga, which is known as a Swahili word, which relates to guinea fowl (Hilger, J. 1995; Hamid, A. M, 2010) and represents markings from the spots on the early cloths used to interpret the markings on a bird. Leso meaning ‘handkerchief’ or ‘scarf’ which originates from Portugal and is referenced as Kanga in the coast. In scripted within the designs are a message to involve communication the designs are trying to portray in their own language “KARIBU MGENI”, which means ‘welcome stranger’ and “HUJUI KITU”, which also means ‘You know nothing’ (Spring, C. 2012).

“I AM KANGA A GENTLE ONE THAT’S ME, IM GREAT AND FULL OF GRACE; IM THE FIRST WHEN ONE IS BORN, AND DEFINETLY THE LAST WHEN DEATH ONE FACES. A WEDDINGCANNOT BE WITHOUT MY PRESENCE- WOMEN WEARING ME ARE FULL OF ELEGANCE. AT FUNERALS THE WIDOW USES ONE, COVERING HERSELF IN THE DAYS SHE MORUNS, GIRL IN THE QUR’AN CLASSES MUST HAVE ME TO ADORN”, from ‘Kanga’ quoted by ‘MAHFOUDA ALLEY HAMID’. (Spring, C. 2012, p.100).

The message behind many of the Kanga designs always has something personal and can relate to the society, everyday life, marriage, old age to death surrounding the areas the cloth is portraying. (Spring, C. 2012).

FIGURE 2:Printed Cloth (Kanga), Cotton, Tanzania, 2002, 110x160cm, British Museum

Kanga designs have been passed down in many generations for weddings, which is known as Kisutu. They use a variety of colour and pattern incorporated within the designs and originally if the Kanga is created for a wedding like the one above usually wouldn’t have anything unscripted but for this particular piece it says “HAMWISHI KUNIZULIA HICHO NI CHENU KILEMA”, which means Your problem is that you can’t stop backbiting. The purpose behind this Kanga piece is to portray the aspect of weddings and is worn by the bride to see if anyone has objection against her getting married. (Spring, C. 2012).

 

FIGURE 3: Printed Cloth (Kanga), Cotton, Tanzania, 2002, 117x160cm, British Museum

Another Kanga design above has a different meaning to the cloth and in scripted within the cloth is ‘USHINDI WA MILLENIUM NI WETU’, which means ‘The new millennium belongs to us’. The centre of the cloth called mji, which means ‘town’ or ‘womb’ is left clear to connect within the purpose of the cloth, which is meant to illustrate the meaning for the colour blue representing the unknown future and pattern left quite simple and basic (Spring, C. 2012).

There are many views on the Kanga itself an article by the African Studies Centre of University of Illinois, states the purpose for the cloth isn’t expressed well enough within the clothing and has not interpreted well enough the whole concept behind the cloth (Hamid, A. M, 2010).

Bibliography:

Hamid, A. M, (2010) MICHIGAN STATE UNIVERSITY AFRICAN STUDIES CENTER, Kanga: It is More Than What Meets the Eye — A Medium of Communication [Online] MSUASC. Available from http://pdfproc.lib.msu.edu/file=/DMC/African%20Journals/pdfs/political%20science/volume1n1/ajps001001011.pdf [Accessed 13/11/16] .

HILGER, J. (1995) The Kanga: an example of East African textile design. In: Piction, J. (ed.) The Art of African Textiles. Technology, Tradition and Lurex. London: Lund Humpries Publishers, pp.44-45

ONG’OA MORARA, R. (2014) One Size Fits All: The Fashionable Kanga of Zanzibari Women. Fashion Theory: The journal of Dress, Body and Culture, 18 (1), pp.73-95.

SPRING, C. (2012) African textiles today.  London: The British Museum Press, 2012,pp.6, 100-107

 

Image Reference:

FIGURE 1: (1994) Paje, Zanzibar  [Online image] Available from: http://amassingstuff.blogspot.co.uk/2013/05/african-printed-cloth.html [Accessed 10/12/16]

FIGURE 2: (2002) Printed Cloth (Kanga), Cotton, Tanzania, 110x160cm, British Museum[Online image] Available from: http://www.britishmuseum.org/collectionimages/AN00013/AN00013289_001_l.jpg?width=304 [Accessed 10/12/16]

FIGURE 3:(2002) Printed Cloth (Kanga), Cotton, Tanzania, 117x160cm, British Museum[Online image] Available from: https://s-media-cache-ak0.pinimg.com/originals/93/66/cc/9366ccfd54faca434d6f5b4fe5af771a.jpg [Accessed 10/12/16]

Word Count: 594

About Me

My name is Aaisha Hussain and I am currently studying (BA Hons) Textile Design at De Montfort University, Leicester. Exploring different aspects of how textile design can be portrayed using various techniques and styles to observe texture and colour of a concept. Simplicity or complex ideas always helps me build on my designs and develop them further even if I don’t use them. In addition creating a purpose for my designs making it suitable for either Fashion or Interior.

I studied BTEC Art & Design at Solihull Sixth Form College exploring different media areas such as Fine Art, Photography, Graphics, Life drawing and Illustration, which has expanded my skills and ability in different aspects of Art. Observing different ways in how textiles can be illustrated developing my own individual style through manipulation of various ideas. I mainly work with fine-liner exploring the detail in observational drawings of natural objects and the composition of how each idea/drawing will work.

                                   FIGURE 1                           FIGURE 2                          FIGURE 3

One of the main artists that inspire me is William Morris. This is because he creates his form of art in a natural aspect similar to the way I would design my patterns. His ideas are both complex and simple and visualise the detail in natural forms. Also the colours used within his art are very well structured and are only added within the design where its needed.

FIGURE 4

Another designer I like is Manish Arora he explores different colour ways and different aspects of how Fashion can be illustrated using beads, embroidery and bright colours to illustrate main aspects of his designs. The main focus to his designs are fashion dresses, jackets and skirts and he embroids heavily on the main aspect he wants the main focus to be on.

Bibliography:

http://www.manisharora.com/

https://www.william-morris.co.uk/?act=ssocomplete

Image Reference:

Figure 1 : (1885) Cray furnishing fabric [Online image] Available from: https://s-media-cache-ak0.pinimg.com/originals/1f/a8/51/1fa851ab12da677c2c44735c1aa295d4.jpg [Accessed 24/11/16]

Figure 2: (1876) Morris snakehead printed textile [Online image] Available from: http://3.bp.blogspot.com/_a1H7iZJ3LNc/TH52KzcgW_I/AAAAAAAAGAo/ln8zDEoUjE0/s1600/william%20morris-morris&co-1876-snakeshead%204.jpg [Accessed 24/11/16]

Figure 3: Daisy, Dark, Willow [Online image] Available from: http://williammorristile.com/early_tiles/morris_life/willow_pattern.jpg [Accessed 24/11/16]

Figure 4: Three looks featuring embellished caps and beaded dresses [Online image] Available from: http://blog.indiaspopup.com/wp-content/uploads/2015/02/manisharora.jpg [Accessed 24/11/16]

Word Count: 296