Molly Bowman

Molly is a maker, mover and muser from Leeds with a specialism in Fashion Knitwear. Her current work exists physically outside of fashion including video, painting and textiles, but concepts remain interwoven to the fashion sphere being closely tied to identity. 

She previously studied Fashion Knitwear and Knitted Textiles at Nottingham Trent University, where she gained a wide breadth of fashion design skills as well as technical knit specific skills. Her skills include design research, adobe suite including; illustrator, photoshop and InDesign, pattern making, knitting on dubieds and domestics as well as developing skills on Shima Seiki and Apex 3 systems. 

Molly has built on her preexisting skills within the Royal College of art by delving into the core of her artistic expression. Striving to carve out a place in an industry which she is aware is already full of innovation. Finding a place which resonates for her, designing carefully, instinctively and with purpose.

Unforeseen for Molly was the extraordinary community she has encountered and surrounded herself with this year – a community that has become the driving force behind her artistic evolution. In her creative practice, she delves fearlessly into the most vulnerable aspects of herself. Without this unwavering support, she would not have had the courage to claim this space for herself. 

Both the acts of making and moving have always underpinned my work and through my Master’s Studies I have undertaken crucial analysis to understand why. Upon self-reflection, I noticed a recurring pattern of engaging in making and moving activities, as well as a strong affinity for repetition. Even as a young child, my playgroup teacher observed my unwavering focus and commitment to repetitive tasks, unlike other easily distracted three-year-olds. In my design work, I often gravitate towards repetitive techniques such as pleating, smocking, and knitting. I find comfort and solace in rewatching films and programs, never tiring of the familiar narratives they offer.

My journey into understanding the links between movement and expression began with my BA Dissertation, which explored the empowering potential of physical activity for women and its connection to visual culture. I sensed that my dissertation research held the promise of something truly intriguing. 

Through exploration of the feminine ideal in my practical work and ‘Can Female physical activity ever be empowering without restriction? An exploration into the sexualisation of women’s bodies in Western culture.’  in my BA Dissertation the confines of traditional fashion norms constrained my ability to fully immerse myself in the project, fuelling my decision to pursue further education at the Royal College of Art.

Walking and running, the most primal and repetitive movements, have become my favourite activities. My work has always stemmed from the exploration of the complexities of Feminist practices, John Berger’s stating that ‘men act, and women appear,’ often frequents my mind, ultimately, he concludes that women become the surveyor and ultimately objectify themselves. (Berger, 1972) This combined with Foucault’s theories on freedom being an ontological condition of power, meaning that power only works to motivate us towards set of behaviours because we’re free to choose within a freedom of possibility, showing the constant parameters set for us in current society. (O’Farrell, 2002) Despite comparison being reflexive and not something humans can fight, there is an opportunity here to examine our reasons for acting and how this influence of what we do or think in specific situations.  

I firmly believe that gaining a deeper understanding of ourselves enables us to tap into our innate creativity, freeing us from the constraints of trend culture. Embracing sustainable design does not mean limiting creativity; rather, it means making purposefully, consciously, and with respect, thus, creating a synergy between artistic expression and environmental responsibility.