Paradisaeidae Bird Street Art

http://scienceblogs.com/tetrapodzoology/2011/05/19/birds-of-paradise-street-art/

While searching for Birds of Paradise artwork I came across a secondary source of contemporary street art created in 2011. The Tropical bird composition was created in London on wooden fence to conceal building work.

The simplistic use of colour and uncomplicated silhouettes is a stark contrast of the elaborate birds in real life conceiving a paradox conception of the birds.

For future work I could take influence from the refined colour pallet if I was unable to achieve the iridescence portrayed in the feathers in fabrics and surface decoration.

Attenborough's Paradise Birds - FMP

I found the initial influence for my final major project while watching the BBC production 'Attenborough's Paradise Birds' in late January.

Inspired by the natural beauty I see around me, nature has always been a heavily influential part of my work. After first watching the documentary my creative characteristic wanted to illustrate and develop the shapes, colour and structures into a fashion outcome.

The shapes and colours exhibited by the male birds birds to attacked a mate are alluring with a romantic aesthetic.

Along with the extravagant plumage of the birds, most of the birds perform dances where they create elegant silhouettes and memorable structures.

The bold shapes created by their feathers and displays embodied into fabric through manipulation and pattern cutting would give my designs a clear influence from the Paradisaedae birds, while also giving a unique spin.

Through the movement created in the dances flashes of bright and iridescent colours burst front the black feathers that could be interpreted into garments to create unusual patterns and surface decoration.

London College of Fashion Interview

Yesterday I attended a interview at Mare Street in London for Bespoke Tailoring at LCF.

To prepare my portfolio for interview I documented my sample garments through photography, used prepared research boards, life drawing, garment patterns, photography work and illustrations professionally mounted.

Three hours before the scheduled interview I dropped my portfolio at the Mare Street building so I was able to go research fabrics suppliers in the Shepard's Bush area.

At two o'clock all other applicants were requested to leave their portfolios with the two interviews, course leader Jacqueline and Rob Stevens the head lecture for the course, while we extended a guided tour of the building and facilities.

After the the tutors examined our portfolios were asked to attended a private interview and I happened to be the first to be interviewed.

In the interview I was asked a series of questions, such as; 

Where did my initial interest in tailoring come from?

Why I have applied for tailoring at LCF?

To choose a example of work and explain.

Do I know the difference between primary and secondary research?

To answer the first two questions I said that my initial interest was gained in 2012 when BBC news covered a story on CE Barrow Bespoke Tailor closing in Lancaster after 140 years. The BBC did a short documentary and part explained the basics of how tailoring can make the body more aesthetically please and I wanted to learn those skills and be able to do that for people using my natural creative characteristic. 

When asked to show and explain a piece of work I chose the images of the projected dress from my chandelier project. I explained my how my concept of light influenced my design for the dress then how rather then having the model wear the dress, a image of the dress what photographed and then projected onto the naked form so my model was wearing the light.

To justify my understanding of primary and secondary research I explained that primary research is something that you document by using photography or drawing for example, while secondary is something that is already documented and has been published in books or online.

Overall I am unable to gage how the interview went as I was only in there a short amount of time and by being the first in makes me think that they had already made a decision when looking at my portfolio and they were unable to give feedback on my work. However I believe I gave strong answers for their questions and showed my passion for the course.

Sample Seam Finishes for Chiffon

To neatly and professionally finish the seams on the chiffon for my designed garments I have sampled three different styles of seam finishes; French seam, clean seam and overlocking. 

French seam is where the wrong sides of the fabric are sewn together before being pressed,the excess is cut close to the line of stitching, a few mm away and folded so the rights sides of the fabric are facing. Then another line of stitching is needed to conceal the raw edge of the fabric.

This style of seam is the most professional in appearance and appropriate for the lightness of the fabric. 

However this style is slightly time consuming because it effectively means seams must be sewn twice and this method can only be used of straight seams.

The second method of seam construction I sampled was the clean finished edge. In this techniques the seam is sewn, ironed opened before the seam edges are turn under and sewn flat.

The raw edges of seam are concealed as desired however the seam is not as strong when compared to the french seam.

This technique of seam finish would be more suited to a medium heavy weight fabric rather than the light weight chiffon. 

Out of the three seams finished this technique took the longest due to three lines of stitching need to finish the seam. 

The last sample seam was an overlocked seam.

After stitching the seam the edges are overlocked, cutting the seam down and preventing fraying in the finished seam.

This is probably the most commonly used way of finishing seams due to quickness of finishing seams. Overlocking seams also strengthen the seam, making the garments more stable.

Yet this seam does not have professional finish desired and with the sheerness fabric can be seen though the fabric.

I believe the best seam to use on my garments would be the french seam because of the strength in the seam, aesthetically pleasing finish and is approbate for the fabric.

Primary and Secondary Research Lecture

This mooring the group were invited to a lecture given on different types of research we have used and will be used for our Final Major Project and documented in our 500 word Project Proposal in sufficient depth for the readers to evaluate the proposed study. 

In the lecture we discussed what primary and secondary sources of research were. 

A primary source of research is an original record created an the time the event occurred such as newspapers, speeches, exhibitions and photographs.

Secondary sources are usually written as the event has occurred. Secondary sources assign values to, analyse and draw conclusions about events reported in primary sources. 

The breadth of our research sources will effect our final mark so we have been encouraged not to just use the internet to gather information but use published sources such as books and magazines and if possible to contact artists and designers to get a first hand account of their work.

To document our secondary research sources we will use a Harvard format referencing system, showing the date, format and source of the research.

UCAS Application and Portfolio Submissions

After researching fashion design courses at the UCAS fair in manchester and the LLF Craft cluster day I decided to apply to four universities, Westminster, Southampton Solent and UAL's London College of Fashion (LLF) and Central Saint Martins (CSM), all fashion design based courses ranging from womenswear design to bespoke tailoring. 

The application process had to be completed and sent to UCAS by the 15th January including a finished personal statement, university choices, educational history, results and a reference from our tutors.

In the past week I've been contacted by three of the universities asking for a portfolio to be submitted by post or online all for the 8th February. Each university asked for slightly different work in the portfolios but all showing creativity, experimentation, research, analysis, subject knowledge and technical competence. 

Westminster asked for the completion of a questionnaire testing my knowledge on the fashion industry and how designers are influence from different sources, along with six A4 pieces of work. 

Southampton Solent asked for a portfolio to be emailed to them containing 15 images of work and an essay with a creative theme.

CSM asked for 10 boards to be uploaded to a online album on flickr, three research, three development illustrations, two final illustrations and two boards of other work showing creativity. 

I decided to create a election of boards to be used in all portfolios tot show the development process from research to final designs of my work I'm producing now to be sent off with other work fulling the criteria asked for by each university. 

Now all three portfolios have been completed, sent and received I can now concentrate on preparing my physical portfolio for an interview for LLF on the 25th February.

Surface Decoration Idea Development

After feed back from my peers regarding the skirt and dress I've created using my textural materials it was suggested that bringing in a pattern as surface decoration would strengthen my designs.

After discussing the idea with my tutors I suggested creating the pattern from the textural materials and screen printing the it on to the chiffon voile and the faux suede to create a suggestion of texture on the flatter fabrics. 

After scanning in and editing the images on photoshop the patterns where put onto screen to be printed from. 

Before printing the patterns onto my fabric I mixed up two colours in different shades to see what would compliment the my less textural fabrics. Personally the pale grey was my favourite as it didn't stand out too much against the fabric linking with the idea of suggestion of texture.

The prints of the textures ties in with the development of my concept for the winter collection without solely using textural fabrics. This means I can use less of the textual fabrics in my designs and that should make the areas of textures more predominate in my designs. 

Development Garments

Using my chosen fabrics I have designed several garments for development pieces before my final designed collection. 

When designing the development pieces I have taken inspiration from my early sketch book work to get the structure within the garments, while also using a relaxed shape that reflects my research of Hiroko Koshino and asymmetric shape from Comme Des Garçons designs.

Using a panel pattern skirt I created a toile from cotton calico before shaping the skirt as in the design to use the toile pieces as a pattern. 

To break up the textures within skirt each fur panel connected to a suede panel. This makes the textural fabrics more defined within the garment. 

Using the textural fabrics against the lighter weight suede was a problem because the suede struggled to lie flat in the seam however after loosening the tension on the industrial sewing machines meant that the suede wasn't bunched in the seams.

In the centre back of the skirt skirt I have put a invisible zip but for the zip to open and close with out trapping the pile of the fabric I had to cut the fur at the seam without cutting too much so the seam became noticeable.

After taking the pattern from a existing relaxed shaped garment and altering to incorporate the design elements such as the zip, deep v neckline and lower back seam. 

When cutting the pattern from my chosen materials it became clear that the I didn't have enough amount of suede needed for the back point, however the garment is long enough to alter to incorporate the design feature in a lesser angle then was desired. 

Both garments need to be finished, a lining inserted, seams neatened and a final press before completed. 

Fabric Choices

Looking back at my research of the folklore tale of Yuki-onna (snow woman) to gain inspiration for my colour scheme. I want to use very pale colours to represent the elements associated with the winter setting such as the coldness and the snow. In the different versions of the tale Yuki-onna is depicted naked or in a white kimono so I could represent this in a sheer fabrics such as voile or chiffons.

After discussing the developing concept with my tutor, it was agreed that the combination of heavy fabrics along with the lighter weight fabrics to give the warmth that is desired in winter clothing would help develop my idea to a concept. 

The suggestion of the use of really traditional winter fabrics like furs and suedes (only faux) and textural fabrics to establish the concept was mutually agreed upon and would have a clear link to the winter environment of the tale.

Experimentation Garment Construction using Displacement Pattern Cutting

In Julien Robert's Subtraction Cutting guide he demostrates different techniques to produce garments. Using the pattern cutting technique called displacement I have created the experimental garment shown below.

 

After drafting a basic bodice, front and back, the pattern is drawn onto the fabric connecting the bottom seams together, cut and sewn to make an asymmetric dress. The construction method is rather simple and drape achieved through this technique creates interesting shapes without being very time consuming. 

The irregular shape created by the displacement technique reminds me of Comme des Garçons' designs.

Very little of the actual material used is wasted compared to a more traditional pattern cutting technique how ever after completing the sample garment it is clear that much more fabric would be needed to produce a final garment.

This approach to garment construction is a contrast to my pervious work by the relaxed style and shape. 

To try and contain a little more structural shape to the dress I decided to add diamond darts to the front.

However I dislike the the final outcome because I feel that the garment doesn't flow as nicely and has lost appeal by the addition of the darts with the loss of the natural unstructured drape. 

For future designs I could potentially bring in elements of subtraction cutting to give my designs a unique edge but with the amount of fabric needed to create a full finished dress is not feasible and personally I would prefer a little more of a tailored shaped.

Tutor feedback - Sally Taylor

Today I had a chat with Sally Taylor a fine art, drawing and contextual studies tutor about my work how my ideas had developed to my concept and how the links to my research.

After seeing my deconstructed suit I explained how I wanted to combine the traditional techniques of tailoring with the rather new pattern cutting method of subtraction cutting. Sally suggest that mixing the two contrasting pattern cutting ideas might not make a balanced garment. She advised that I could alternately create an outfit that combines the methods in a more balanced manner but to still experiment with combining the two methods so see what happens.

We also talked about how I was going to link my future outcomes with my theme of of the Japanese culture. After looking at my research of the folk law tale of the Snow Woman and the different versions I explained that my colour pallet and fabric choices where decided from the one of the version of the tale where the spirt of the snow woman entices travellers to their deaths but spares the some of the young and beautiful. In the the versions of the tale the spirt appears either naked or in a white kimono and from this I want to use white or a pale colour, light weight fabric that is slightly transparent. I want to use a lightweight fabric to represent the flowyness of the snow and a white or pale slightly transparent fabric because of what she is described as wearing/not wearing. 

Sally asked me if I had every read Memoirs of a Geisha by Arthur Golden or seen the film and how I could take elements from the story like the the sale of the main character's (Chiyo Sakamoto) "mizuage" - the coming-of-age ceremony for an apprentice Geisha where wealthy buyers to bid on her virginity so the apprentice could become a full Geisha. 

In the book Chiyo Sakamoto presents prospective bidders ekubo (a sweetened rice cake) to prospective buyer to signify it is her time for mizuage. 

“Mameha went to a confectioner’s shop that same week and ordered on my behalf a kind of sweet-rice cake we call ekubo, which is the Japanese word for dimple. We call them ekubo because they have a dimple in the top with a tiny red circle in the center; some people think they look very suggestive.”


“Please accept these ekubo, Doctor,” I said, and after bowing, placed the package on a side table near his hand.”

Excerpt From: Arthur Golden. “Memoirs of a Geisha.” 

I like the idea of models carrying ekubo on the catwalk or in a photography shoot, wearing my garments because it is a strong link to the Japanese culture.

The details of the mizuage ceremony are not in the film so unless people had read the book or knew about the culture the presence of the rice cake would not be understood but I like the idea of the mystery behind this element.

Tailored Suit Deconstruction

After a one to one with Jo concerning what universities I want to apply to and what I would like to do we decided that my work should try and incorporate tailoring into what I am doing now because of me applying for Bespoke Tailoring at London College of Fashion.


So at lunch I went around some charity shops in town looking for a cheap tailored jacked to use in my work.

I deconstructed the jacket so I can see all the different aspects and pattern pieces that go in to final jacket. 

Looking at the suit after experimenting with subtraction cutting technique, the two ways to produce garments are very different; one is very structured and planned where as the other if not vigorously documented may never be able to be created again, making it each garment unique. 

I want to try and combine both pattern cutting approaches, either mixing the two ways in a single garment or creating separate garments, each using a different pattern cutting technique for an overall outfit. 

Experimentation - Subtraction cutting - The 'Tunnel' Technique

Toady I experimented with two techniques of subtraction cutting demonstrated in Julian Roberts' 'Free Cutting'. 

He calls the two techniques the 'Tunnel' and the 'Plug' techniques.     

The 'Tunnel' Technique

Using any round object to hand (in this case an empty coffee cup) to create the holes to be sewn together internally to create a obscure tunnel for an object, like the body, to travel through. 

The first sample I created I only cut two holes in the fabric keeping the fabric flat and with to twisting it to get my head around how it worked.

In the second sample I 

subtracted more of the fabric and twisted the fabric to see what textures, shapes, the way it drapes

To best demonstrate how the tunnel technique manipulates fabric is with it on a object or body part. This shows how 'subtracting' fabric and sewing the holes together causes a mass of fabric that falls and drapes naturally. By subtracting the fabric in this way you create lots of interlinked layers from one piece of fabric. 

I think small aspects of a garment using this technique, like a sleeve or a collar would give a garment a new edge whereas using this technique in all of a garment might be too over powering for the style of collection I have in mind making the clothing less elegant and I might struggle to reflect my concept  that is still developing through my research.

Design Your Future - Manchester UCAS Fair

Today college gave the opportunity to go to the Design Your Future UCAS fair in Manchester for further university research and a chance to speak to the tutors and university representatives.

While at the fair I had another chance to speak to representatives from UAL about the BA (Hons) Bespoke Tailoring course and how to produce a portfolio that would give me the best chance of entry into the course. I was told that hey want to see the creative journey from the initial inspiration and starting point to final outcomes. I was also told that knowing how to sew isn't directly needed because they will teach all the techniques on the course but it is helpful to know before hand and having evidence in my portfolio wouldn't hurt.

I also spoke to the Ravensbourne tutor who teaches the BA (Hons) Fashion Design course. I liked the idea of the course because it was open design course meaning that I didnt have to pick menswear or womenswear before beginning the course. However after speaking to the tutor I have decided that I will no longer apply to the course because of the way she spoke to me and about her students. The tutor seems a little demeaning and I don't think I would be inspired to do my work studying with her. 

Southampton Solent also had a stand at the event and I went to speak to them because last year I applied and received a place on the BA (Hons) Fashion Styling but after consideration I declined the course because no part of the course gave me the opportunity to produce my own clothing. I wanted to know how if I would be able to apply to the university again after declining my place for styling and apply for design which I was told was fine but not to give up on Fashion Styling and to do more research into it to see how the course had changed but she was not able to talk to me about fashion design because she didn't know much about the course. 

Lastly I spoke to De Montfort University about their BA (Hons) Fashion Contour course to the tutor who teaches on the course. She explained to me all the expects of the course I would learn; research and development, how to produce the final outcomes, fabric and material knowledge. After speaking to the course leader the course seems very in-depth and readies their students for the industry however the down side of the course to me was that fact that it is not in London so it doesn't have the same strong industry links and no opportunity is given to actually work in the industry like a gap year or placement year. 

London College of Fashion (LCF) Craft Cluster day

Today some of the fashion pathway, who are planning to applying to UAL, were given the opportunity to attended a cluster day at LCF John Prince's Street in London. We met the course leaders and were given a presentation on three courses; BA (Hons) Bespoke Tailoring, BA (Hons) Cordwainers Fashion Bags and Accessories: Product Design and Innovation and BA (Hons) Cordwainers Footwear; Product Design and Innovation.  

The talk about Bespoke Tailoring inspired me the most given by of Darla Gilroy, the programme director for the three course presented, on behalf of Jacqueline Sealy as Jacqueline had lost her voice and could only communicate through typing messages. 

The programme is highly specialist teaching students the handcraft tailoring techniques along with other skills such as design, pattern drafting, research methods and presentation skills.

Bespoke tailoring is clothing made to the individual buyer's specification and traditionally the customer is a man however this course also teaches the skill and techniques for womenswear tailoring which starting to develop a considerable amount of attention. 

Bespoke Tailoring caught my attention the most because it is very hands on course, the traditionality of the skills taught and the fact that the course is an 'open design' course meaning that I am not constrained to either menswear or womenswear.

Task Three - Research - The Falklore Tale of Yuki-onna (Snow Woman)

After my one to one assessment feed back I've been researching into Japanese traditional folk law tales to draw inspiration for my work from different aspects of the culture then just fashion designers. 

I've come across a tale about the Snow Woman (Yuki-onna). In this version of the tale, Yuki-onna is a sprit of a woman who died in the yearly snow storms in northern province of Echigo. 

Yuki-onna appears in Kyuzaemon's (a lonely farmer who's family had passed away) home in the early hours of the morning after asking to be let in and denied. Kyuzaemon realises that the woman is a spirit and becomes very fearful. The sprit explains that she is travelling through the snow to the next village but the wind is against her and needs somewhere to rest before travelling on further. In the morning she is gone and have moved to the next village to haunt the man she was married to before perusing in the snow for leaving her family.

However after further research it there are many revisions of the snow woman tale, most say she encourages travellers in the storms to their deaths but spearing some of the young and beautiful. Some carry on the story saying that when the young and beautiful have grown up she appears again to them and they fall in love.

Some revsions of the tales say that she wears a white kimono, while some say she appears naked in the snow with the palest skin with long jet black hair.

After reading through Richard Gordon Smith's adaptation of the tale and more traditional renditions of the fable the main ideas of the story have given me ideas for my work, such as colour scheme. I could keep my colour scheme very pale, mostly white but maybe with a hint of colour like snow obscuring objects in the distance. 

If I decided to document my final outcomes through a fashion film or a photography shoot I could use the setting of the legend as the scene and backdrop hopefully influencing the viewers interpretation.

One To One Assessment Feedback

Today the group has the first one to one assessments regarding our work we have produced so far on the course. Each student has been set targets to improve their work on their blogs and practical work. Our tutors also commented on our attitude towards college.

I was told that I have a good attitude and show a great interest in my chosen subject but I need to be more driven in my work to get my desired place in one of the top London universities.

In my assessment it was expressed that I am not clear enough in my blog with explaining what I have done, how I have done it and personally evaluating my work in a critical manner - what went wrong, what was successful, how well I feel I have done and how I could improve it. 

I was also advised that I should show images of my work in the process of making my practical work to meet my target of clearly showing the production and development.

When looking at my research my tutors said I had a good amount of secondary research of designers influence but the Japanese culture but advised me to look at different areas of research such as food, architecture, art and other aspects of the culture. I also need to gather more primary research to influence my work. 

Targets

1. Make sure you reflect upon the work you have completed - How well you feel you have done the task - What you feel you could do better.
2. You need to include Artist/Designer research for each round about.
3.Clearly label all irk on blog.
4. More primary research - Photos/drawings etc. 

Task Three - Development - Pattern Idea - Process of Making

Today I started on the idea I proposed for the fabric pattern.

I  have scanned in part of the textiles origami inspired sample and using Adobe Illustrator I've started to trace the lines for the pattern that will create the boarders for the windows of pattern to be seen through. 

I've been using the pen tool to draw the lines to get the initial boarders however once I have finished drawing the rest I need to go back and edit the shapes. 

At the moment the boarders look too sharp and heavily structured and I'd prefer them to be more softer and more natural like in the original sample .