OLIVIA GREENWOOD

It is the style with which people dress through the various stages, ages and times in their lives for all manner of moments, that endlessly influences and provokes my love of fashion and the possibilities of what can be achieved through my design work . 

I am passionate about examining intercepting disciplines, such as music, film and photography. Considering all these elements allows me to immerse in the research experience, resulting in creations that reinterpret reality from multi-faceted perspectives and create a world for others to experience. The exploration of historical moments and social conditions are crucial when creating this world, building a personal connection through my design practice. It was through this exploration that I found womanhood, place and heritage to be fundamental themes of my design work.

Through a form of storytelling, my work combines a tangible expression of the energy conveyed by women’s provocative personalities. Celebrating their routines and rituals, seeking inspiration from women who are audacious in their appearance. As some people may consider them to look tacky or tasteless, I find this exploration and questioning of individual taste, allows me to discover visions of women whose hardy confidence in their style and robust nature in their roles, remains defined and dignified. 

In focusing on the aspects of northern subcultures, I am infinitely inspired by characters of past and present, which more recently includes Northern Soul, where pubs and clubs offer the space for formative essential experiences and interactions. The people here find themselves living for the weekend, an idealised vision of those times in between work, where groups of people spent time together at home, in the pub, or at clubs. 

Artists work such as, Martin Parr and Ewan Spencer capture the thrilling highs and lows that can occur in these community spaces, where neighbours and strangers come together in moments of passion and escapism. They participate in pilgrimages to such places where ideals can be exchanged, clothes can be shown off and bonds can be built. Playing with the line between documentary and pastiche, the industrial landscape, the rural landscape and the domestic landscape have become stages in developing my concept. 

The influence of the north for me relates to highly personal reflections. The idea of the northern family as a tight unit portrayed as jovial and rowdy, yet often amusingly dysfunctional, has become something of a national treasure and certain visual codes of household settings are celebrated through symbols in my design. Considering signifiers of wider aspects of class, gender, and heritage. This identity heritage of the past, furthers my concept in the nostalgic picture of previous moments, mixing it with the demands of the cultural present. Not for longing of time passed but for moments that are timeless in reference, to create an innovative vision of tomorrow.