Final piece

Now my final piece is created, I started thinking about styling ideas for my model. I bought flesh coloured tights and a discreet black leotard to go under my piece for modesty as my final piece is translucent in places. The wearable structure is fastened at the back by eyelets and cord which ties the garment around the body.

First Experimentation

 

I began by using the tights experimentation previously explored in earlier lessons. I used black tights as a variation to this. I decided to use tights as my predominate medium due to the innovative shapes it can create. I made the piece on a chair basis before transforming the piece into a wearable garment. I then experimented with the collection of cones I had made to see the sculptural qualities this created. This is some of my first experimentation.

Initial Ideas

I began creating paper cone shapes using the rule method but only in two stages to create the simple shape. I was trying to portray a theme of repetition and almost like a broken method as I stop the process we initially explored after theme few stages of the rule. I used red thread to be a highlight colour against the plain white.

Initial research photo's

Initial design research pictures taken in London. I found paper featured a lot in shop windows. I was very inspired by the spherical shapes and crispness of the white clean paper.

Bio-Couture video of proccess

Bio couture

Suzanne Lee (2010) Bio-Couture. [image online] Available at: http://antenna.sciencemuseum.org.uk/trashfashion/home/wearwithoutwaste/material-desires/biocouture-jacket/ [Accessed: 01/12/2010].

I really enjoyed this bizarre work by fashion designer and artist Suzanne Lee. Her work uses cellulose produced from bacteria harvested in bath tubs of sweet green tea . The bacteria use the sugar in the green tea to produce floating mats of cellulose. It is from these mats that Suzanne Lee makes her work. She then, using a wooden mannequin, makes beautiful pieces. I found it inspiring because of the nature of 'growing' a garment, the very theme of the unknown outcome, of the growth and birth of the piece. This physical appearance of the cellulose also resembles the PVA tights work we created in colour, stiffness and slight translucency.

Artist Randy Ray

Randy Wray,. Chapter and Verse. 2007. [Photograph] Available at: < http://www.blackandwhiteartgallery.com/wray1a.html > [Accessed18/11/2009].

This piece by Randy Wray showcases a 2D piece translated into a 3D installation. I found It very inspirational when compiling ideas for my final wearable structure. It bought be back to thoughts of the original workshop we explored which looked at a flat piece of paper being abstractly made into a 3D piece. I started to think of the original process I initially undertook and I remember having a round shape cutting a line then starting with a cone. I liked the simplicity of the new shape I created from the paper.

Artist Peter Callesen

Callesen,P.,  2005. The Impossible Meeting.  [photograph] Acid free A4 115 gsm paper and glue

Callesen,P.,  2006. Half Way Through.  [photograph] Acid free A4 115 gsm paper and glue

As my research continued I revisited the themes of paper and came across artist Peter Callesen. I liked how he uses the very simple medium of A4 paper.
His work almost takes on an origami format and reminded me of the art processes we explored within the first few weeks of the module. The notion of process and 3D shape experimentation is prominent within his work which is also the themes I have been exploring previously.  The 3D aspects are prominent in the way the work appears to rise out of the page as he folds the pieces up and in on themselves.

Further experimentation with military jackets

I continued experimentation and sought out other design shapes. I looked at using black ink to mark the garment to create a war like distressed theme. Obviously the garment does portray army themes as this is the original jackets heritage and so I was interested in taking this theme and twisting it with a different shape and function and because of my inspiration by Katy Eary's work. I thought of barbed wire, hard, unyielding and dangerous so I decided to create a neck piece of metal wire to represent barbed wire. I felt it contributed the final over all look of the piece.

Katy Eary

 

 Katy Eary, 2009. [photograph] Available at: http://itsmenswear.wordpress.com/2009/04/07/analysis-of-a-look-katie-eary/katieeary-awo9-1/ [Accessed 20 November 2009].

 Katy Eary, 2009. [photograph] Available at: http://iamsarahyoung.com/2009/08/an-eyeful-of-eary/ [Accessed 20 November 2009].

 

Katy Eary, 2009. [photograph] Available at: http://iamsarahyoung.com/2009/08/an-eyeful-of-eary/ [Accessed 20 November 2009].

I really like this work by Katy Eary who uses military themes in an almost dark and manipulated manner. The choice of red eye make up alongside the alabaster pale foundation sets the mood of the garments well and portrays an almost cadaver like theme which ties in well with initial thoughts of war and death. The dark colours of the garment also add a sinister theme.  Her designs appear to take a look at British war as she uses hats that resemble those worn by the British guard (top left image of the bottom five pictures.) I found her work inspired me when I was furthering my design with the military jacket and was the original inspiration for the use of black ink and the barbed wire  neck accessory which I wanted to give a ominous feel to my work which I feel war represents. I wanted thoughts of the wire to be almost like choking the wearer and thus creating an uncomfortable feel.  The top picture is also inspiring due to the use of structure and rigidity.

Pleating

I created large pleat samples by folding large pieces of card and over laying and slitting fabric to create the shape I required. I additionally created a pleat sample using the sewing machine and utlising colour ways introduced through the militray jacket workshop to continue on this theme.

Deconstruction of jackets.

We each recieved an old military jacket in an army green. individually we were asked to deconstruct the jacket to its most basic components for example a sleeve, collar, panel, pocket. From here I reassembled the pieces back together by pinning and hand sewing it together around a chair, expanding off the previous explorations. I found the garment when transferred to the mannequin and the basic human form created an effective shape and was successful in its transformation into a working garment.