I grew up near the Fox Talbot Museum in Wiltshire, and have always loved the images created using this early form of photography.

As a practice-based researcher my visual inspiration folder is ever changing and growing. I look everywhere for colour information – particularly strongly contrasting tones on faded backgrounds, or extreme light/dark silhouettes.

The visual research runs in parallel to shirt selection and grouping – I am often to be found handling the polyesters in charity shops!

Altering the shape of the shirts – a lot or a little, or not at all – is a question answered for me by researching the narrative for each collection.

For many years I hand painted all my transfer papers – but my more recent work is concerned with making the process more accessible for consumers, and so I am using bought papers more often these days.

I design the print templates by collecting or making 2-dimensional objects - sometimes colouring them up or stitching into them – and using the shape of the shirt to guide the lay out.

For many years I enjoyed the solitary nature of working in the print room, but more recently I have been creating collections in workshop scenarios – to see what happens when we co-design the pieces. I am interested in methods that will bring the co… — For many years I enjoyed the solitary nature of working in the print room, but more recently I have been creating collections in workshop scenarios – to see what happens when we co-design the pieces. I am interested in methods that will bring the consumer closer to the fashion product - to build a greater understanding of how things are made, how garments might be kept in use for longer, and what skills are needed to achieve this.

A new technique – inspired by the RSA’s Great Recovery – is the ‘break down’, where the workshop participants use quick unpick tools to take apart a shirt, and then each remake a part, before bringing the pieces back together to create single upcycl… — A new technique – inspired by the RSA’s Great Recovery – is the ‘break down’, where the workshop participants use quick unpick tools to take apart a shirt, and then each remake a part, before bringing the pieces back together to create single upcycled item.

The workshops have lead me to begin to experiment with the idea of the ‘kit’ – the simple set of equipment and information sheets needed for people to remake shirts for themselves.

My practice research is also supported by: curating exhibitions; writing lectures, papers and reports; studio teaching; and most recently developing film scripts and animations in collaboration with other artists.

The TEN

While the environmental impacts of our production and consumption system have become increasingly discussed and brought to the fore, and textile/fashion designers have begun to consider their responsibilities as creators of unsustainable products and systems, there have been few tools or frameworks for designers to be pro-active. I became frustrated by the lack of real action in light of these often depressing facts, and wanted to create some strategies for positive change.

The TEN (Earley & Politowicz, 2010) – a set of sustainable design strategies – is one of the main outcomes from my time spent remaking these shirts. The strategies have emerged out of a need for a toolbox for designers to help them navigate the complexity of sustainability issues and to offer real ways for designing 'better'. The TEN and are continually changing and adapting. Find out more and watch the animations here.