Lottie Molloy

The perception of beauty is strongly embedded in Lottie Molloy's design process and inspires and challenges her as a designer. Through the use of mathematical acoustics and the manipulation of the viewer's perceptions, the homogenous idea of 'beauty' is stripped from the acceptable. Each design is open to judgements and unique reactions of a personal interaction. Each design therefore holds and a quality of individualism.


Talk us through your ‘Glitches in Perception’ collection? How did it come about? 

Glitches in Perception is my Graduate collection for spring // Summer 2017, which conceptually concentrates on the construction of movement between colour and shape. The main ideas for this collection developed from research and investigation into whether the theories of Divine Proportion within an artistic paradigm still hold any relevance in contemporary design. The reasoning for this research was to attempt to understand what it is that allows the spectator to make a judgment as to what makes a work of art, an architectural concept and its final outcome, or a contemporary design aesthetically pleasing and beautiful. Is there any guide-lines that an artist, architect or designer can follow that will ensure that their work will be perceived as beautiful, or is beauty purely a subconscious reaction that comes from the individual. I wanted to then push the idea of what is beautiful, by pulling it apart, manipulating, distorting and even glitching the idea. By doing so my intentions were to create a collection that is open to judgment and the unique reactions of a personal interaction. 

We love your use of geometry and symmetry in your work. How does your creative process start? Talk us through it. 

The pinnacle point of inspiration for my use of geometry and symmetry comes for the beautiful world of modern architecture. So for me, whatever projects I start, to get the creative juices flowing I need to do my research. I can spend hours if not days researching, whether that be scrolling through Pinterest, lapping up interviews from journals and magazines to traveling to a city with my camera and snapping up all the inspiration that is around me.  I pride my self on my attention to detail and this cannot be done without the correct research. Whether this is me being slightly OCD or a major perfectionist I do not know. But I cannot move over forward until I full understand what it is that I am conceptually and aesthetically trying to achieve. I then begin to start drawing and pulling out shapes, formations, compositions, scales and colour from my research, making a well thought out database to be then later crafted together into designs. Along side all of this a good strong cup of coffee and BBC Radio 6 are always at the start of any creative process.

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Are you drawn to specific shapes and architecture? 

Any shape that involves a Clean sharp line and perfect angles would have to be what I am drawn to the most, so naturally I am drawn to Modern Architecture, with movements such and Bauhaus, Brutalism and post modernism. However one architectural movement has really lit a fire in my belly, due to its harsh angles, extreme shapes and its look into perception. This movement is called Deconstructivism and came about in 1980s. Deconstructivism addresses the imperfections of the modern work and in the words of Phillip Johnson, the quote ‘pleasure of unease.’ This architectural movement heavily influenced “Glitches in Perception “and allowed me to experiment with geometry and angles of architecture that I had not yet explored. This is going to be something that I will be continuing to develop within my design handwriting. 

Does seeing your work in a three-dimensional format, like an upholstered chair or wallpaper change the way you see it?

Yes, seeing my work in a three-dimensional format completely changes the way that I see it. The print can completely change depending on what surface or structure it is laid upon. For me the way that I see my work even changes from viewing it on the computer screen to it being printed on the fabric. Suddenly this rigid structure, that can only be moved though the commands of Photoshop and Illustrator, has movement and fluidity of its own. Changing the way that lines and shapes, even colours of the print react with each other, forming new compositions, structures and colour grouping.  

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What are your current inspirations? 

My current inspirations are artists such as Camille Walala, Supermundane, and Kate Banazi with their fantastic use of shapes and original bold colours. But when it comes to the design and fashion world I take my inspiration from the design houses of Nike, Adidas, Mission and Stella McCathney for their sleek style and sophisticated use of line and structure within their designs. 

What excites you the most about art?

What is there not to be excited about art? It may sound cliché but there is not one part of art that does not excite me. From the rich culture and history that the art world is built upon, to the excitement of going to an exhibition opening and to be moved and inspired with what is being hung on the walls. The fantastically interesting people that there are to meet and learn from. The excitement of exploring and pushing the bounds of art, the butterflies that appear when an experiment in the print room goes right. Without art the world would be a very quiet place. It is the noise of art that excites me the most. 

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