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My practice as whole incorporates three common ideas which are street wear, sensory fabric and urban music culture. The key processes I have used throughout my work are print making and graffiti art. My key inspiration, which ties these ideas and processes together, is my nieces rare genetic disorder diagnosis which due to its rarity is only know by a set of numbers and letter; 10q26.3. This inspired the name of my collection.

One of the traits of 10q26.3 is sensory and mobilities issues. To address this and offer a solution, I introduced sensory fabric into my collection such as graffitied quilted pleather, which would allow my niece and others the opportunity to use the fabric to improve their development in these areas through touch.

As one of my common idea’s street wear influenced my work as it is reflective of my own personal style. It also allowed me to express my creativity as this type of clothing appeals to both genders.

The essence of urban music style is oversized masculine garments. My pieces show this type of design through their tall and unfitted silhouettes. Urban music allows women a platform to be non-traditional and express themselves in a more masculine way. This is something I have reflected in the shape and style of my pieces.

Graffiti art and print making is known as a contemporary art form which by its very nature is anti-establishment. This is something that is also seen in urban music and street wear meaning this art form was the right fit for my collection.


Mae fy arfer yn gyffredinol yn ymgorffori tri syniad cyffredin, sef dillad stryd, ffabrig synhwyraidd a diwylliant cerddoriaeth drefol. Y prosesau allweddol yr wyf wedi’u defnyddio trwy gydol fy ngwaith yw gwneud printiau a chelf graffiti. Fy ysbrydoliaeth allweddol sy’n clymu’r syniadau a phrosesau hyn ynghyd yw diagnosis fy nith gydag anhwylder genetig anghyffredin sydd, oherwydd ei brinder, wedi’i hadwaen gan set o rifau a llythyren; 10q26.3. Bu i hyn ysbrydoli enw fy nghasgliad.

Un o nodweddion 10q26.3 yw problemau synhwyraidd a symudedd. I ymdrin â hyn ac i gynnig ateb, cyflwynais ffabrig synhwyraidd megis ‘pleather’ wedi’i gwiltio â graffiti arno i fy nghasgliad, a fyddai’n galluogi fy nith ac eraill i ddefnyddio’r ffabrig i wella’u datblygiad yn y meysydd hyn trwy gyffyrddiad.

Dylanwadodd un o fy syniadau cyffredin, dillad stryd, ar fy ngwaith gan ei fod yn adlewyrchu fy arddull bersonol. Galluogodd i mi fynegi fy nghreadigrwydd hefyd gan fod y math hwn o ddillad yn apelio at y ddau ryw.

Hanfod arddull cerddoriaeth drefol yw dillad gwrywaidd o faint gormodol. Mae fy narnau’n dangos y math hwn o ddyluniad trwy eu silwetau tal heb eu ffitio. Mae cerddoriaeth drefol yn rhoi llwyfan i fenywod fod yn anhraddodiadol a mynegi eu hunain mewn ffordd fwy gwrywaidd. Dyma rywbeth yr wyf wedi’i adlewyrchu yn siâp ac arddull fy narnau.

Mae celf graffiti a gwneud printiau’n adnabyddus fel ffurf gyfoes ar gelf sydd wrth ei natur yn groes i’r sefydliad. Dyma rywbeth a welir mewn cerddoriaeth drefol a dillad stryd hefyd, gan olygu mai’r ffurf hon ar gelf oedd y ffit iawn ar gyfer fy nghasgliad.