SUBMERGED SS 16 collection By Amy Johnston
Contents Introduction My Culture Summer Project Trend Colour palette Fabric Silhouette
Japanese Culture Fabric Manipulation Line-up Final Designs Toiling process Final Garments Conclusion References
INTRODUCTION
Fashion is a global industry that plays an important role in the lives of everyone that has ever purchased a garment. Historical movements, culture and politics all inspire fashion and are portrayed by many designers all over the world continuously, season after season. Designers are constantly looking for new inspiration whether it’s from their own cultural traditions, western interpretations or often historical cultures they have an interest in. Global-Mash up brings two cultures together in order to form new ways of thinking and produce unique ideas by looking into the theory of these cultures. The ‘Submerged’ collection brings elements of Scottish culture and Japanese culture to produce an unconventional collection of swimwear and light garments. Research began by looking into Scottish folktales of myths and legends and Japanese Mythology in contrast. Rather than look at such a broad subject the student looked in particular to the story of the ‘Kelpie’ otherwise known as the water-horse. Traditionally Scottish folklore uses mythological creatures to teach a lesson to children or warn them of danger. The student recalls this story passed on from a grandparent as a child. The second story researched was that of ‘Ryujin’ also known as ‘Ōwatatsumi’ a Japanese water-spirit. As these stories began with word of mouth and have no factual content the student decided it was best to use artistic impressions of these folktales and their own interpretation. The connection of water between the two stories was a major influence on the design research and development. Using artwork that depict these folktales as a starting point print, fabric manipulation and silhouette were all developed through experimentation. The colour palette for the collection was not only taken from the WGSN SS16 Trend ‘Deep Summer’ but also a series of photographs taken of ‘The Kelpies’ a 30ft sculpture in central Scotland by Andy Scott. The embellishments on the garments are also inspired by the sculpture. The fabric manipulation is inspired by Japanese art. The multi-way swimwear pieces are influenced by the shape-shifting abilities of both creatures in each story, the idea that the garments can be worn in multiple styles portrays the way these creatures change form in the water. The fabric for the collection includes a textured sheer inspired by rippled water. The large gauge mesh was chosen as the metallic finish, portrays a liquid texture. The silhouettes for the garments that are not swimwear take inspiration from the trend researched in the summer project. Elongated forms and loose fitting garments compliment the multi-way swimwear. With the concept of Global Mash-up it was important to consider all elements of each culture in order to appropriately represent through design. Focusing on the water element of each story and the interpretation through other artist’s eyes; the concept is portrayed subtly through fabric manipulation details and design.
MY CULTURE
THE KELPIE’ /kƐlpi/ A water spirit of Scottish folklore, typically taking the form of a horse and reputed to delight in the drowning of travellers.
The first aspect of cultures this project looks at is Scottish folklore. After a brief research into a range of tales and mythological research the student chose to study further into the story of the Kelpie. Many rivers and lochs have their own story to tell about a kelpie. Many of these tales depict the Kelpie as a beautiful pure white or black horse that has the ability to shape-shift. They are known to inhibit the deep lochs streams and rivers of Scotland. The creature is only recognizable by it’s dripping wet mane with water weeds intertwined. Many tales warn that a Kelpies’ hooves are backwards and that this is the only sign that the creature being witnessed is a Kelpie and not a real horse. The creatures entice and prey on humans that near the waters edge they inhabit; luring victims onto it’s back and proceeding to drown them. This story of the Kelpie is one of many shapeshifting creatures from Scottish Folklore. The tale of the Kelpie is thought to have been created through the years ; As a way of keeping children from nearing deep bodies of water alone.
The idea of Kelpie being found in the depths of Scottish waters inspired some collages and sketches. These sketches were then developed into textiles in order to be considered for the design process. A fabric manipulation technique of pinning fabric into tight disorganised pleats and dipping the remaining fabric on show in ink . When the ink dried the pins were removed and a unique water like pattern was produced. Although the use of the pleats naturally gives the fabric a raised texture this technique is best used to produce ideas for printing fabric.
‘The creature is only recognizable by it’s dripping wet mane with water weeds intertwined.‘
Experimenting with ways to personify the appearance of a Kelpies mane a range of fabrics were combined with elastic. Putting elastic and jersey together creates a seaweed like structure. Mimicking this structure on a sheer fabric was effective and personifies the imaged of a Kelpies mane.
Using inks oils and paints these continuously changing liquid pouches were a great source of imagery for printing. Taking this forward for the design concept a collage was made to portray mock garments if these images were to be used in digital printing. Although these silhouettes are not swimwear they give a suggestion of the aesthetic this print could achieve. This portrayal of liquid texture would be very effective but the cost of Digital printing meant other techniques would need to be approached to portray liquid texture.
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The original concept had mythological associations; and this escalated into the 'ancient ethereal water spirit' becoming the story behind the sculpture. Th sculptures modelled on two Clydesdale horses of Glasgow city council. This breed was chosen because of their connections with the industrial history of Scotland and Falkirk. The materials used for the sculptures were chosen for their links to Scotland's industrial past. The sculptures portray this past with structural beams visible through steel plates that are laser-cut into geometric shapes. The structure filled with lighting inside and out to make the sculpture a spectacle at all hours. The title leaves the story up to the viewers interpretation. This art can be understood from many angles. Event though the original intent was a contemporary monument the sculptor Andy Scott just wants the sculptures to spark interest to all audiences
THE KEPLIES
This sculpture originally was not associated with nor named 'The Kelpies'. The name was inherited outwith the project almost a nickname that stuck. Over eight years since the sculpture was completed the story behind it has evolved drastically from the original concept. Andy Scott often uses subject of equine sculpture. With every sculpture each on has a connection to it's site or the audience it will bring.
By Andy Scott
A collage inspired by the steel components of the 30ft Kelpie Sculpture sparked the development of embellishing the garment. After researching into using actual metal plates as attachments for the garments it was decided a more practical portrayal of the the structure would be the use of sequins. The original idea was to source sequins the suitable shape and size, after this failed the back-up was to get coloured acrylic laser-cut. Unfortunately the University doesn’t have the facilities to laser-cut plastic. After some problem solving; the decision was made to hand prints and cut the sequins. Printable acetate was printed with the desired colours before over 100 sequins were cut out by hand. Once all of the sequins were cut out the experimenting began with how to attach them to the garment. With the acetate being printable it was able to withstand substantial heat so couldn’t be melted onto the fabric. Sewing the sequins on would take away from the clean cut geometric aesthetic of the sculpture. In the end the decision was made to glue the sequins on by hand using heat activated glue. Despite there being some glue residue on the same it was decided this method was best suited to the design.
COLOUR PALETTE The colour palette for the collection is inspired by the trend research carried out for the summer project. Deep Summer is a bold palette of aquatic brights and citrus accents. Influencers include the Henry Holland Resort 15 collection and bio-luminescent creatures of the ocean. Ocean inspired tones of Amazonian green and electric teal are given a kick with luminous yellow and burnt orange to produce a busy and vibrant palette.
The colour palette for the trend is heavily influenced by the psyhcadelic prints in Henry Hollands House of Holland Resort 2015 collection. The ‘Submerged’ collection focuses on electric blues and vivid oranges inspired by the colour palette of ‘Deep Summer’ and the bright tones in a series of photographs that depicts ‘The Kelpies’ . These images capture the sculptures on a summers night with the shy a bright blue and the burning grow of the lights inside the sculpture a deep orange.
The fabrics for the ‘SUBMERGED’ collection take inspiration from the textile forecast for ‘Deep Summer’
FABRIC
The creatures of the ocean with alien like forms inspire the use of synthetic fabrics with liquid shimmer and even glow in the dark fabrics refelecting the luminous forms of the deep ocean. Underwater plantsminerals inspire weaves with metallic or luminescent yarns and distorted textures. Embellishments add to the mineral texture of mesh.
The translucent forms of the deep ocean inspire the use of sheers such as chiffon georgiette intertwined with acidic accents inspired by the bioluminescent brights in the colour palette. The texture of deep sea corals and plant life-alike is mimicked with distorted sheers and crepes. These sheers are then pleated or distorted further to reflect fluidity and liquid forms. Mesh fabric with lace holes is heavily embellished with sequins to portray a scale-like structure. Irridescents paired with metallic foiled fabrics bring a contemporary edge to the sheers.
SILHOUETTE
Luxurious day-to-evening resort-wear produces new silhouettes with reworked proportions , inspired by liquid texture and movement. The full length crochet or mesh dress is a key item for S/S 2016 and is perfect for a cover up or beachwear. The layering allows details of swimwear to peak through to create a sexy and interesting look. For day to night dressing the play-suit or jumpsuit brings sophistication to the collection. Subtle prints have a laidback appearance with co-ordinating two pieces bringing a youthful vibe to silhouette. Swimwear is inspired by surf-wear and is transformed into elegant suits with printed panels.
Halter neck swimsuits with back details are inspired by multifunctional garments. High neck swimsuits and bikini’s are inspired by wetsuit silhouettes and detailing. Panelling exaggerates the body’s contour giving the illusion of a more slimline silhouette. Cut outs add a youthful aesthetic to swimsuits. Printed sheers cover ups add layers to two piece bikinis with low rise Brazilian cut briefs or high-waisted bottoms. Openwork knits are used for loose fitting garments and add dimension to simple silhouettes Sheer tank tops have deep plunged or scooped necklines with a shorter hem at the front than the back.
JAPANESE CULTURE
Ryūjin or Ryōjin 龍神 ‘dragon also was sea
god’
known as Ōwatatsumi, the tutelary deity of the in Japanese mythology.
Due to the story of Ryujin being a mythological story the physical appearance of the dragon can vary in tale to tale. The typical form seems to be that of a serpentine body with three clawed feet, a large mouth and had the ability to change into human form. His underwater palace made of coral was named ‘Ryugu’ he was served by sea turtles and other small aquatic animals. His messengers were the sea turtles. From this palace he controlled the tides with magical jewels. ‘Once, the dragon god gave the jewels to Isora, the god of the beach, so that he could pass them on to the Empress Jingo. The Japanese fleet (including the empress) was sailing towards Korea with the intent to invade, when the Korean fleet confronted them. When she saw the enemy fleet approaching, she tossed the Low-tide Jewel into the water, making the tide recede and thus beaching the Korean fleet. The Koreans jumped out of their boats onto the mudflats to attack, but at that moment, Jingo tossed the High-tide Jewel onto the flats. A tidal wave rushed over the Korean soldiers, drowning them all and pushed the Japanese fleet to the Korean harbour thereby assuring victory for the Empress Jingo and her fleet. Some time after that, Ryujin presented the Tide Jewels on a beautiful pink shell to Prince Ojin, the empress’s son.’ (source)
FABRIC MANIPULATION
Following on from the original fabric manipulation a series of experimental samples were created using a fold and press technique. Taking inspiration from the Japanese style of portraying waves in art a pattern of waves was developed into fabric manipulation. These manipulations add depth to fabrics and are particularly effective on sheer fabrics as the layers of colours sheer deepens the intensity of the colour.
After experimenting with hand sewing and heat press the decision was made to used a heat activated glue in order to make the manipulation more permanent without having to use hand sewing or top-stitching. as this would take away the delicacy of a sheer fabric. Unfortunately even after testing with the fabric the glue has not held in some places. If I were to use this fabric maniputation again I would use it on a fabric that is not transparent in order to hide the glue or use a stronger heat press that would set the fabric in this form.
Upon first look the ‘SUBMERGED’ collection does not immediately represent both of these cultures. But In depth research has resulted in this collection being subtly inspired by the Folklore of Scotland and Japan. The collection goes deep into the stories and takes little details in order to appropriately and subtly represent these cultures through fashion theory rather than simply copying the aesthetic of a culture or religion. The collection looks at artists impressions for both cultures. The Scottish culture shines through with the representation of the structure of ‘The Kelpies’ by Andy Scott and the Japanese culture shines through with the fabric manipulation inspired by various artists impressions of the story of Ryujin and the Japanese style of illustration to portray water.
TOILING ON THE STAND
Swimsuit When toiling for the swimsuit it was obvious straight away how the multi-way swimsuit would be composed. With two shaped strips of swimsuit Lycra trapped into either a waistband or high waist bottoms and free at the end. The top half is free form and can be worn in a number of ways, The swimsuit was toiled 3 times in order to get the measurements exact; to make sure the swimsuit was tight in all the right places.The end result was a professionally presented swimsuit suitable for anyone who wants to make their clothes to suit their particular style.
Maxi Dress Because the fabric intended for this dress was mesh it was decided to keep the silhouette simple and let the fabric dominate the look. The fabric was bought before the initial designs for the collections were complete, this meant only a certain width of fabric was available as it was sourced in London in an independent fabric store. Unfortunately when pattern cutting began for the maxi dress it was found that the fabric was not wide enough for the intended design. In order to problem solve the design was developed further using what fabric was available. The resulting design was a maxi dress with side splits with belt detailing to bring in the waist and the sides held together by elastic.
Bomber Jacket The Bomber jacket adds a final touch of quirkiness to the outfit made. The bomber was first toiled in printed sheer fabrics and succesfully portrayed the desired silhouette.The fabric manipultion on thebody is effective but the technigue of using glue has resulted in a messy finish. This aswell as the glue used to attach the sequins on the sleeves let the garment down. Further experimentation with how to carry out this fabric manipulation should have been carried out on alarger scale before proceeding to the final garment.
REFERENCES Bibliography Avins, J. (2015) Video: In fashion, cultural appropriation is either very wrong or very right. Available at: http:// qz.com/520363/borrowing-from-other-cultures-is-not-inherently-racist/ (Accessed: 11 December 2015). Butchart, A. (2011) Track the trend: Chinoiserie. Available at: http://amberbutchart.com/2011/08/08/track-thetrend-chinoiserie/ (Accessed: 12 October 2015). Ewing, J. H. G. (2006) The brownies and other tales. USA: Hard Press. Gallery 210 | the metropolitan museum of art (no date) Available at: http://www.metmuseum.org/exhibitions/listings/2015/china-through-the-looking-glass/exhibition-galleries/210 (Accessed: 8 October 2015). Girldoll (2015) The First time I saw a person die. Available at: http://everything2.com/title/Ryujin (Accessed: 13 December 2015). House of Holland resort 2015 [Collections] (2013) Available at: http://www.bloginvoga.com/2014/06/06/householland-resort-2015-collections/ (Accessed: 13 November 2015). Kelpies photos (2015) Available at: http://www.thehelix.co.uk/things-to-do/the-kelpies/kelpies-photos/ (Accessed: 13 November 2015). Red coral Seafan (2015) Available at: https://www.flickr.com/photos/jill_ee/2552356561/ (Accessed: 13 November 2015). Vidani, P. (no date) Wait - what ?. Available at: http://dreaminginthedeepsouth.tumblr.com/tagged/wave?og=1 (Accessed: 13 November 2015). WGSN (no date) Available at: http://www.wgsn.com/content/image_viewer/#/image.20918211/set/%5B%22imag e.20739931%22,%22image.20718846%22,%22image.20731993%22,%22image.20918211%22,%22image.20718 735%22,%22image.20915445%22%5D (Accessed: 11 October 2015). (no date) Available at: http://www.vogue.com/fashion-shows/fall-2004-ready-to-wear/saint-laurent (Accessed: 12 October 2015). (no date) Available at: https://s-media-cache-ak0.pinimg.com/originals/f6/21/a2/f621a23465f5d7db200868a5136ffeec.jpg (Accessed: 13 October 2015). Citations, Quotes & Annotations Avins, J. (2015) Video: In fashion, cultural appropriation is either very wrong or very right. Available at: http:// qz.com/520363/borrowing-from-other-cultures-is-not-inherently-racist/ (Accessed: 11 December 2015). (Avins, 2015) Butchart, A. (2011) Track the trend: Chinoiserie. Available at: http://amberbutchart.com/2011/08/08/track-thetrend-chinoiserie/ (Accessed: 12 October 2015).