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. 

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.

Task Three - Development - Fashion Illustrations

After my group critique this morning I created these two designs on Illustrator to reflect the feed back  was given. I have use the advise of changing the colour pallet and structure of garment to be be more flawy were the pleats and fold fall naturally. 

In these two design I have taken inspiration from the designers Yohji Yamamoto and Issey Miyake and their work that I have pinned on my Japanese Inspiration Pinterest board. 

The pattern element for these designs came from a photograph I worked on previously in the Fine Art roundabout. 

I have left some of the illustration without pattern to shown the layering of the garments. However I really like the patchiness of the pattern adds aestheticly pleasing element to the designs. 

Group Critique

Today I put forward the the origami cape I produced a few weeks ago in the group crit. 

In the group critiques I was advise to change the colours because pallet reminded some of the group of Halloween. They advised I change the black to white or a softer colour to give a softer effect that would still represent and adhere to the Japanese theme. 

A comment was also made about the two contrasting ways the fabric fell; the flow of the cape compared to the structured folding piece on the back. The thoughts from the group was that the contrasting combination of the drape of the fabric didn't work. 

The group proposed that the folds in the cape were more subtle and more flattering to the body then the bolder crisp lines in the folded fabric. 

The class expressed my own realisation of the fabric choice saying for the folded element of the experimental garment was too thick and a lighter weight fabric would have worked better. 

As I carry on my development I think I will use the advise for creating folds in softer way by the drape of fabric rather then the structured approach and change the black for a more feminine colour. 

Roundabouts - Textiles and Fashion - Manutex Printing

In the forth roundabout session we attended the option Textiles and Fashion. In this session we experimented with mark marking in the form of manutex printing; a form of pattern printing that can only be printed once, unlike most printing making.

When manutex printing you draw your chosen image or pattern onto the silkscreen and pull it through the screen using a print paste on to material. 

Rather then print onto cartridge paper I experimented with appropriating fashion magazine images. This wasn't very successful because the paper had been printed on previously meaning that the ink didn't soak in. 

Task Three - Development - Textures

In my sketchbook I've been experimenting with stitching in place the folds in fabrics seen in the art of origami. 

To develop the idea further I attempted to stitch the folds in a less precise manner to create a different texture. 

I then cultivated the idea to create a larger piece of fabric using the same technique for a sample garment to see how the distorted fabric effects the drape and fall when on.

Task 2 - Development - Fabric Folding Idea

In my sketch book I have started to visually communicate and develop the idea of using the folds seen in origami into potential garment ideas.


I have taken one of the pages in my sketchbook and attempted to create similar lines observed in the folds of the paper by sewing the pleats fabric.


For the colour scheme of the fabric I have used I used the vivid red that is apparent throughout the Japanese culture with the Black to make it stand out.   



I selected to make the garment  a cape because of the simplicity and quickness of production of the garment and as a canvas for the structured piece of fabric. 

When choosing my fabric I just chose the two fabrics i used I selected fabric made same fibres with a similar weave so they would have similar characteristics and fall in the same way. The fabrics I chose were too thick for the folds meaning that the machine struggled to sew some of the folds into place. 

If I was to create something like this again I would have to change my choice of fabric for a thinner fabric that the machine could handle and maybe stiffen it to get the crisp clean lines desired.   

Task Three - Development - Sketchbook

I've started to develop my theme of origami in a visual sketch book by collaging appropriating fashion images.

In my sketchbook I've tried to demonstrate how my ideas are evolving in how  origami could be used for garments in a range of materials like different fabrics, paper and woven metals. 

I've tried to make my sketchbook textual with a specific strong visual theme running throughout. I think I need to start being more experimental in my work to develop a stronger outcome. As well as folding I want to explore how materials bend and how they flow and move. 

Creativity Exercise - Build - Part 2 and Group Critique

This morning we spent a little more time on the creativity exercise called Build.

To develop my paper garment I decided to create a skirt to reflect the style of the bodice. Using the same materials folded in a complimentary fashion I made the bottom half of the garment, however joining and overlapping in a different way to the bodice.

After lunch we had our first group critique of the year, where students could opt to show what they had built and receive feedback from the others on their work.

I chose to show my work to gain influences and ideas from other people's opinions of my work. I received comments such as "the garment has a futuristic style, through the use of folding and sharp edges" and how the shape of the bodice reminded some of the group of a bird with the folds representing feathers. 

The group had a discussion about the the use a pattern material if I was to take this way of Origami garment construction forward. After some deliberation it was decided that a pattern material would take away the sharpness of the folds and that the shadows cast by the folds gave the garment its own pattern.

I was questioned on the length of the garment and why I chose it to be at that length. I was restricted to the size of the paper rather than having the option of length. When making the skirt I created it the same way circle skirts are made but using a square rather then a circle for the hemline. 

I was also asked what fabric I would use if I chose to move on from using paper. Using my knowledge of fabric and the qualities each possess, I explained that it would have to be a fabric such cotton calico strengthened by interfacing because it would hold the fold lines without being weighed down. I could also use a synthetic material such as strengthened polyester because some the the characterises of the fabric are similar to cotton but polyester doesn't breathe and if the garment was to be worn it wouldn't be very comfortable and polyester can have a 'cheap' look that is undesirable. Mouldable fabrics such as wool and felt could be used but I would have to experiment to find a way to mould the fabric to create appropriate folds for the garment. 

Task 2 - Research - Sandra Backlund

Sandra Backlund is a swedish designer who specialises in sculptural knitwear. Founding her own brand in 2004, Sandra Backlund's designs have a architectural aesthetic take on a historical medium, winning her awards such as the 2007 Grand Prix winner of the Festival International de Monde and Photographie in Hyeres, France and the 2010 Swedish Elle Award. Backlud's designs accentuate and exaggerate the female form, producing a futuristic quality to her clothing. Her manipulation of wool creates sculptural moving art and through her choice of thick yearn each stitch can be seen creating an abundance of textures.

Personally, I find Buckland's work to have a origami aesthetic approach that is "out of the box" and unique to traditional knit designers. Her use of sculpture has a layered quality that is hard to incorporate into classic knitwear that I admire, giving her work a contempory edge. 

All images from:
http://sandrabacklund.com

Task 2 - Research - Limi Feu

Daughter of the award winning and influential Japanese fashion designer Yohji Yamamoto, Limi Feu has followed her father's foot steps into the fashion world. 

However her choice "LIMIfue" as her design label after coming across the word fue in a French dictionary, suggesting she wanted to make it on her own then rather off her fathers already established label.

Starting her label in 2000, she showcased her work from 2000 to 2007 in Tokyo Fashion week before making her Paris debut in October 2007's Paris Fashion week and breaking into the western fashion world with great praise from critics.

Her designs have characteristics of a darker colour pallet, use of layers, large volumes and asymmetry, a clear influence of her father's designs. However, where Yohji Yamamoto's design are typically more romantic, Limi Feu's are a little more street wear inspired with a rock attitude ambience to her clothing.

I admire the empowering famine yet edgy shapes of her designs. Due to her mostly darker colour scheme, if I could afford it, I do believe I would wear her designs. This collection seems to have a punky-meets-orintal quality that is enforced it the style of the hair and cutting edge designs.

These images are of her latest collection Autumn/Winter 2014-2015 from:

http://www.limifeu.com

Task 2 - Research - Givenchy Spring 2011 Haute Couture

Riccardo Tisci, the creative director of Givenchy, appointed in 2005, is continually exploring uncharted territory for the Parisian fashion house.

The Spring 2011 Haute Couture isn't a couture show in the conventional sense. The ten garments created have never been seen on a runway and were exhibited more like art work, which I guess they are. Only by showing his work in this style, using only Asian models, could the viewers really see the amount of time and effort gone in to each design. The delicacy of the handwork in the beading and the elegant appliqué and embroidery could not of been seen on a catwalk so this was the best possible way to display this collection. 

The pastel colours used in this collection are a modern traditional of the spring colour scheme that have always made me think of dried flower petals.

Tisci took influence from the traditional Japanese art of 'Butoh', and this collection could almost be seen as an abstract homage to the late master of the dance art, Kazuo Ohno.

Some of the looks were completed by elaborately handmade head pieces by Philip Treacy, showing Tisci's fascination with Japanese robot toys.

To clearly define the influence of the Japanese culture through the ten garments, the use of the crane, a symbol of femininity and immortality in the Asian culture.

Tisci has managed to give the awe-inspiring garments a lightness feel even though each floor-sweeping gown is richly fabricated by layers of heavily worked materials, some dresses took thousands of hours to complete. 

This collection is persistent in the way his past couture collections have been elaborately detailed but is contrasting and a departure from the more gothic designs he has produced.

Fabrics Used:
satin, tulle, georgette, satin, organza, muslin, feathers, sequins, leather, crystals, lace

Images from:
http://www.vogue.it/en/shows/show/ss-2011-haute-couture/givenchy

Task 2 - Research - To Dream Of Japan

To dream of Japan: Fashion Photography by Tina Patni for Amato Haute Couture.

Tina Patni is a fashion photographer based in Dubai, United Arab Emirates. 

This creative stylised collection of photographs has a clear Japanese, almost 'geshia-ery', influence flowing throughout each image. 

 Created by Tina Patni for Amato Haute Couture, these photographs have intense oriental concept with a aesthetically modern appeal that is clearly shown thought the series. 

The soft shot of the photographs mixed with the contrasting bold make up and pops of colours from the props used captures the viewers eyes.

Photographer: Tina Patni

Designer: Amato Haute Couture

Make up artist: Gene Ginno Alducente

Hair Stylist: Jojo Padua

Images from: 

http://amatohautecouture.com/campaigns/orientalismo/