Starting a Youtube channel

After many years of wanting to start a YouTube channel, I finally took the proverbial bull by the horns and made my first video.

Let’s start by describing what studio Erskine is all about.

Studio Erskine comprises three strands - Erskine omigie, Edie & Ophelia and Circular Design Studio. As I progress through my PhD, I wanted a platform to showcase my research and the small products I produce. I also wanted a platform where I could engage with anyone interested in circular and sustainable textiles and fashion. For each of the strands, you can find out more here

Studio Erskine came about after an attempt at trying to start a small design company called Erskine Omigie. Aside from other factors that meant I had to put work aside, such as getting married and starting a family – I soon realised that even though I had a master’s in Fashion and the Environment (now MA. Fashion Futures at the London College of Fashion) I still was unable to create a truly sustainable fashion company. It was a lot harder than I thought. There were many questions I was asking and I did not know how to answer them – or even if I did, I did not have the resources to do so.

The thing is, after my first degree – a BA. in Fashion Design and Technology, I knew I wanted to get onto a PhD, researching sustainable and ethical fashion and textiles, but boy, did it take me a long time to get here. Fast forward, working in the industry for a bit, two masters and a young family later, I finally got on a PhD programme at a good university (a very good one) and with a clear idea/vision of what I wanted to research into and how I hoped to achieve it. So let me tell you about it.

My PhD research asks the following questions:

-        is it possible to facilitate human product attachment (to fashion and textile products) through the sensory experience of materials and textiles? my research, (which I am approaching through ‘a research through design method’), uses the craft of embroidery as a tool to reflect on and to research this question. Embroidery as a historical and contemporary craft provides many opportunities to develop haptic and sensory experiences with several positive affects for designers and consumers alike.

-        My research also sits within the circular design framework. Encouraging consumers to form attachments to the garments they already have promotes an important part of the circular Design system, i.e. keeping garments in the use phase for as long as possible. However, the embroidery craft poses a technical problem within the circular design/economy framework. This is because common materials used in embroidery (such as viscose and polyester) are often not sustainable. In addition, embroidery and embroidered pieces are usually made up of mixed materials and finished embroidered products, because of the nature of the embroidery technique and process, are hard to disassemble to enable the end products to enter into a recycling and regenerative loop/stream.

So the main question is - can we facilitate human product attachment through the sensory experience of embroidery (either through the practice of embroidery or through the wearing/use of embroidery)

The sub-question – how can this sensory use of embroidery for human-product attachment be achieved within a circular design framework?  

At Studio Erskine and through Edie & Ophelia specifically, we want to change how we experience textiles and fashion, bringing people closer to the art and craft of making and caring for the garments they already own. At our core is the entrenched philosophy for sustainable and ethical ways of keeping our garments for longer by encouraging a change in our perspective and mindset. More often than not, how a garment is worn or used (consciously or unconsciously, activating our sensory experience) leaves an imprint of the wearer on the piece. And this relationship also goes the other way. Memories can be connected to certain pieces causing us to form attachments to these pieces. By considering how a wearer develops a relationship with their clothing I am seeking to reveal the stories related to the wearer and the garment. We understand that touch, movement, tears, rips and creases of a well-worn and well-loved item tell a story. And these stories have meaning. through these stories is possibly where ‘attachment’ is formed.

At Edie & Ophelia, we adapt the Japanese philosophy of wabi-sabi, which calls on us to see the beauty in imperfection and impermanence, and to value, appreciate and cherish the ageing process of our fashion and textile pieces. And so I explore circular design ideas and initiatives for product longevity and attachment through Co-creating, Co-Designing and Co-repairing with our patrons and participants. with the hope that fashion and textile products will be used for longer and the stories connected to the products will last a lifetime.

But how do we begin to change our mindset and perspective? Making videos has always been a great way to engage people in concepts and ideas. When creativity is applied, videos provide a fun way to catch people’s attention on serious issues.

So our very first YouTube video at Studio Erskine delves headfirst into creating an item that can be used as a repair or garment life extension method. Embroidered patches can be sewn onto an item of clothing to jazz it up, giving the garment new life. It can also be used as a way to mend a tear or rip in a piece of clothing that is loved.

In this video, you will see the development of sketches of some ideas and the start of a sample test piece for a hand embroidery kit which will soon be available on the Edie & Ophelia by Studio Erskine shop page.

This particular Edie & Ophelia collection is designed around the concept and theme of the ocean. We are inspired by the rich textures of coral reefs and sea grass; and the beautiful colours of tropical fish, sea anemones and marine life. The sea offers such rich visual textures which makes it so easy to pull inspiration and ideas from.

Hand embroidering is a satisfying way to create. The movement of an embroidery needle through the fabric (in the process making marks with thread to create beautiful imagery) and the haptic nature of this art form renders it the perfect way to zone into our connection with the space in which we exist and the materiality of the world with which we engage with. Hand embroidery is a contemplative art form – with the gentle movement of thread, needle and hand or the rhythmic motion of machine stitching, it’s easy to fall into a meditative flow.

Our reason for creating embroidery (repair) kits is to encourage all of us to engage more in understanding our material world and most especially to build a deeper connection with the textiles and materials we experience each day. By experiencing the process of making, we can begin to understand materials and textiles, question where materials come from or how they are made and in turn, understand the importance of preserving our resources, find new ways to be less wasteful and foster well-being for the people who make our fashion and textile products.

I hope you enjoy the video.