MAJOR PROJECT By Courtney Pellow
CONTENTS 01/ Contextual Review 02/ Methods of Practice 03/ Conclusion 04/ Reference List
INTRODUCTION This collection began from a recent trip to China. Through exploring urban China and photography of scenes alike, I observed ‘entropy’, the natural occurrence of order within disorder. My collection exists to create sentiment towards overlooked urban environments. It explores the translation of space into clothing, relates it to the body and reconnects us to the places we create and co-exist in. Through this concept, I aim to create a poetic and intimate response to these environments, executed through textile and cutting.
01/ CONTEXTUAL REVIEW
In my experience of traveling overseas to China, I have had a first hand and authentic experience with my mood board and inspirational images. I share my personal perspective of urban China that can only be unique to myself. There were specific aspects that resonated with me in a poetic way, being both beautiful, interesting and thought provoking in a designers eye. I aim to marry this experience with further reference photography of artists to create a whole story. Ideas are explored and developed through concepts of abstraction and expressionism alongside innovative textiles, discussing why this is important to my project and market. Designers with similar philosophy and methodology are discussed in contradiction to the ethereal designers that are our forerunners today. This work intends to explore observation and conceptuality and how they can be pushed in a modern way as the world is so fast paced and unwilling to observe. We are all exposed to a variation of settings and locations although what you personally observe and experience will alter the outcome for each person. Growing up in Auckland City, New Zealand, I have been exposed to our environment my entire life. We often fall short of observing our own environments in a curious manner if they are overly familiar too us. They will not invite our eyes to experience or question unless the subject has been specified. What enlightened me about China is the landscape is so diverse compared to what I have experienced in my life so far. The business, intensity and visual feast that it presented itself as caused me to question ideas as a designer. With this process, we can reconnect ourselves to environments through observation. My observations favor the contradictions between natural and synthetic elements in urban landscapes that cause a layering frenzy in their makeup.
Entropic environments and those who live within them further digest the experimentation and creation within my work. Entropy is explored to contradict the fantasy of fashion, challenging the reality and tangibility of order within disorder. As an observer, fashion can be captivating or even thought provoking as a means of impact rather than a means of temporary distraction. The hypothesis of entropy is explored through photography subjects of other various disorderly environments and the people that live within them. Afterwards, (Herschdorfer, N. (2011), opened up these concepts, “But what are the scenes after the event itself?” This questions our environments not as they are forced into being, but how they come and present themselves afterward. I am inspired by a wave of thinking where social issues and very observable subject matters are a focus. The Jean Paul Gaultier’s and Alexander McQueen’s of the world have paved a road of theatrical, fantasy and ethereal that is ready to be contradicted and challenged. Fashion is no longer always considered as ‘beautiful’, but can be thought provoking as it reflects the good,
bad and ugly. Japanese designers Rei Kawakubo and Yohji Yamamoto grew up in post-war Japan where much of their early collections reflected their observations of the world around them in a tactile and visual sense, influencing the emotion behind their work. “Their clothes were heralded as not only anti-glamorous and antiaesthetic, but asexual and anti-consumptive as well.” (English, B. 2011). They are considered the forerunners within this conceptual thinking, their work was unique and challenged the market of their time where it was criticized. Kawakubo challenges what inspiration can be and what beauty can be with every collection. With oversaturation, the speed of fast fashion and rising of social issues it is more important that we connect with the tangible. As a designer this creates a new form of poetry, where sensitivity to our surroundings and society can be channeled in a powerful and unique way. I question, why should we create a distraction when we don’t even embrace what is already in front of us? Clothing can ignite emotion, familiarity and curiosity.
A familiarity that isn’t typically depicted in mainstream fashion, yet curiosity as a personal view is shared. Maybe it is time to move in creativity with silhouette and textile that is meaningful in this way rather than saving a dormant or conceptually placid way of thinking. With the inspiration and concept behind my work, I have been interested in the in the idea of imperfection in fashion. Like these environments, I am translating a type of imperfection that can resonate into garments. The Japanese concept of wabi-sabi is an aesthetic around the idea of irregularity and imperfection that can translate as ‘incomplete’. Through practice of designers, it can be observed how this concept can be used through deconstruction and reconstruction. There can be beauty found in imperfection itself. As Kawakubo clutches this idea it is seen that “… first Kawakubo deconstructs, then reconstructs.” (English, B. 2011). This works in a similar nature to how our environments and design can work, as entropy works to form order within disorder to finally reach equilibrium. The way we wear our clothes begin, to how they end up being worn and behave also relates, as we form a relationship with our clothing.
Rei Kawakubo, 1982, The Victoria & Albert Museum
As deconstruction began, “Margiela put pieces back together again, in a different form, or added to another garment. That is deconstructionism- literally taking a construction apart- not destruction.” (Derycke,& Van De Veire, 1999). He began working in a way of relating to clothing and their being and he is interested in showing the history or construction ‘renewing’. Understanding this starting point is important although a nature of anti-satorialism from Japanese designers, for me, is much more relatable. In discussing Japanese designers in comparison, “the clothing was characterized by torn, ripped and ragged fabric, uneven and unstitched hemlines; the designers had ruthlessly dissected the
sartorial conventions of high fashion.” (English, B. 2011). Designing against the grain or norm opens doors of exploration and fresh ideas. Rather than designing to serve a particular event or for a specific event function, intellectual designers are creating clothing that becomes a statement that transcends an incidental idea and seeks to appeal to a deeper meaning. (Palomo-Lovinski, 2010) Abstraction and expressionism are explored as strong methods of conceptual translation in relation to the practice of observation. “Fashion design exists in a world increasingly influenced by the world of artistic and intellectual ideas.” (Palomo-Lovinski, 2010). Abstraction is a conceptual undertaking in which certain ideas can be filtered and correlated to an observer’s determination. The expressionism movement is a deep concept of translation by emotive expression. The use of design elements; form, shape, color and texture can convey ideas over direct translation. Throughout fashion history we have observed creations of both literal and abstract translation, whilst the latter can often create more curiosity and relationship. Combining the two can be powerful. Observing Wassily Kandinsky and Jackson Pollock’s work, such depth is created through every artistic element. Their paintings are undeniably beautiful and energetic, they make you question the compositions beginning and end, what its origin may be and the process behind it. Referencing Chalayan, Quinn says, “[his] work so intriguing is his ability to explore principles that are visual and intellectual, tracing the fabric of urban structures and interiors through tangibles like clothing” (2003). By taking ideas and manipulating them to reminisce a feeling or visible source, it is possible to translate a concept into a very real and tangible interpretation in a form such as clothing. As designers such as Chalayan and Kawakubo
interpret ideas, they challenge what representation can be, how direct or indirect it may be. An oversized Comme Des Garcons dress relates to form and shape and how it reacts with the body, how the body can enhance as they work together. The starting point is not from clothing but from a subject. Urban China, through the observations of images I took, ignited a narrative in texture. Textile can be explored through experimentation that informs both visual and tactile stories. Contradictions between natural and synthetic environments inform an exploration of textile within this body of work. Fabrication is a tool that enhances observation. Texture is a visual and tactile element that can provide a narrative in design. Everything that we see and touch can be distinguished by its unique texture with our memories and observations distinguishing what is familiar and unfamiliar. Within fashion design texture can be a functional requirement for garments to be successful e.g. waterproof smooth textured fabric for rainwear. On the other hand, Gong and Shin (2013) said, “…texture can be novel and creative in artwork and conceptual design. A distinct surface texture provides stimulation and even impression.” (p.2). Through two-dimensional and three-dimensional applications it can be used to enhance a context through shape and cut, color palette, material qualities and print. Visual texture is the sensation perceived from the surface of materials or artificial creations, defined by Pipes (as cited by Gong and Shin, 2013). Kawakubo is a great example of tactile and simulated texture through volume and silhouette. She cuts and shapes with no preconceptions of ‘normality’, working in an abstract way, much as a contemporary fine artist would. This method of working is successful through taking ideas that are unrelated to the body and marrying
the two by deep consideration and relation together. Innovative or unique textile can enhance a concept or functionality of a garment. Unconventional textiles that still read as a fabric can have real life significance on the aesthetic of a design. The real challenge is finding a balance. Ghislaine Nuytten said “innovation in fashion happens on two levels: the experimentation with hightech materials and the search for new forms.” (Derycke & Van De Veire, 1999). With relation to the market, other designers such as Melitta Baumester who has created collections with molded silicon and Xiao Li who had dipped knitwear in silicon. They invite a new feeling towards clothing. As fashion moves forwards, designers must constantly try to invent and utilize ways to push the boundaries and keep up with the high speed of our generation. By using new materials they can embed a new stage in what is readily available to wear. “Garments made from different fabrics are often combined together to make a unique, but atypical ensemble.” (English, B. 2011). Oliver Theyskens said “Our body is deprived of many sensations because all it feels are the clothes.” (Derycke & Van De Veire,1999), this excites me from the stance that we can now create new a sensory and tactile within fashion. In conclusion, I think that the way we observe anything around us, from landscapes, personal history or societal issues and art, we can reconnect with the tangible and reality of the world we live in. We can slow down our pace to appreciate and reconnect. As I take observations of entropic environments derived from urban China, I can continue to explore techniques into relating this to clothing. From deconstruction and reconstruction, clothing can translate unconventional beauty, or a beauty of its own kind that questions what clothing can be. As a designer, relating to previously developed movements
in art such as abstraction and expressionism, a personal interpretation and outcome can be formed. It is the designer’s choice in how we can make advances and new movements in fashion, one of which can be new experimental textiles. This creates a challenge of clothing being successful as ready-to-wear garments with how successfully they can be used. For a successful outcome, it is necessary to relate to past practices in order to proceed to new ideas and predict future movements in the market. On a personal level, relating to my own experiences and context of market placement, I can aim to design in a way to respond to these advances and how I can play a part. This concludes with ongoing investigation into the imperfection and expression that clothing can be and become.
“I think perfection is ugly. Somewhere in t scars, failure, disorder, distortion. If I can fee them. Perfection is a kind of order, like ov someone forces onto something. A free h -Yohji Yah
the things humans make, I want to see the el those things in work by others, then I like verall harmony and so on. They are things human being doesn’t desire such things.� hmamoto
02/ METHODS OF PRACTICE
INTRODUCTION This section of work is dedicated to the methods used and explored in the process of creating a collection. Action research was used to plan, act, observe and reflect. My process started by observing and dissecting images of reference to environments of entropic urban landscapes. I pulled out thematic ideas that can be carried through all stages of design. Next was the exploration of textile design and how this can help build a full story. I explored techniques of creating a unique textile that speaks to my reference images. As experimentation carries through, problem solving was critical at all stages. Every stage is worked and reworked for the best outcome as action research suggests. Furthermore, drawing and collaging is used
as tools of communication in early stages of concepts. In solidifying context of my concept, fabrication and a fabric story is established to translate through all areas of fashion design. The toiling process is addressed as I have moved from fabric to textile, creating a story with both. Drape and pattern cutting are detrimental to the final designs as the relationship with body and cloth is developed. My methodology is presented as a journey, through pre collection to final collection as I revisit ideas and re work them.
TEXTILE EXPERIMENTATION AND PRINT OBSERVATION In the corresponding image, you can see a chart of initial responses of how I have reacted to my China imagery. At this stage I was finding up from down, figuring out what kind of a collection I wanted to make. I found that when you are so inspired by something, design could almost be infinite. From the imagery the main visual response I had was the massive scale of everything. The landscape, cityscape felt infinite, the size of everything seemed infinite. Not only this but the layering upon layering of shapes, sizes and textures was visually very exciting. I can describe the scenes as a visual feast, and that is what I hope to embed in my collection. For me it’s about creating something that can be visually appealing and also tactile. I was drawn to the strong contradictions between natural and synthetic fabrications within the environments. I find the juxtaposition particularly interesting as I can imagine it achieving that sense of visual and tactile contrast too.
SILICON With immersing myself into a concept, I had brainstormed interesting materials that I could work with because it’s something that had always taken my interest. I had seen recent collections by graduate students working with silicon and materials a like. It is fashion like this that makes me sad to not be able to experience it here in New Zealand. With that it made sense to use a combination of a natural and highly synthetic material as they harsh contradictions of the materials in the environments spoke to me. First I tried latex, bought from Gordon Harris at a very high price. It dried fast and went gluggy although by chance had started a good idea of wrapping yarn around a template to work over. Silicon being the next option, I could not acquire any in New Zealand so I turned to the building store where I found bathroom adhesive silicon. This worked out my more successfully and with an instant texture that was so unique to me I had to perfect it. Creating the textile begins with winding yarn (woolen) around a Perspex template (silicon doesn’t stick to it). There will form a front and back to work with. Depending on how tightly woven or far apart each strand is, they can give quite different results. Using big spatulas, the silicon can be evenly spread along the grain as to not disrupt the yarns. The first layer is the layer that produces the look on the
underside (wool next to the Perspex). I have played around with many color combinations and variations in how this can look. All of my finishing coats have been clear so that the initial application can still be seen. Getting the right thickness per layer has been a skill to learn in itself. Too much and it wont dry within itself as it dries in air. I have learnt so much about the nature of fabrics from working with such an experimental textile. The linear threads act as the warp and the opposite as the weft. When folded each way the buoyancy is drastically different. This meant that as I was designing I had to calculate the widths of each piece for each panel, depending on whether I would wrap the yarn one way or another on the pre cut rectangle Perspex. Generally, I would work with the more buoyant side on the outer layers for more impact. In realizing such a difference in the nature of warp and weft, I sought other ‘normal’ fabrics that reacted a similar way (in a smaller way). Sewing the textile took practice; it sews beautifully and easily whilst sandwiched between other fabrics. It holds well and is stable when the stitch line is across grain so that new threads are being encased in stitching rather than giving it the opportunity to split up grain between threads. When interacting with the textile myself, it inspires me to what clothing could be, what it could be made of or how the senses we use every day and have a little stimulation and sense of curiosity again. It was only by pure conceptual indulgence that I was able to produce a textile of the type. Each sheet is hand crafted like an artwork. I feel like textiles and clothing like this can play a part in reconnecting ourselves with our clothing.
MOOD BOARD
PRE COLLECTION My initial concepts were drawn from the idea of this layering. How materials can intertwine and layer upon each other to build a story. For pre collection, I was somewhat unsuccessful at creating a clean outcome and this idea wasn’t working out so well. Although, it established a color palette and a sense of fabrication that I continued to work with.
LATEX I did a series of samples of textile using liquid latex supplied from AUT instead of silicon. This is an alternative to the silicon and due to its lightweight, set out to be a problem solver for the heaviness of silicon. The main differences between the materials is that silicon is a thick paste where I could craft it into the desired look where as latex is very runny in comparison so you don’t get the almost painted look. The colors can be very vibrant and exciting when mixing with dyes as I have done. For my personal work I feel like this isn’t quite appropriate. Another downside to latex is its shelf life and stickiness. When folded on itself it will stick and crease unless heavily talcum powdered and when exposed to the sun or general air, it gradually discolors and cracks. Therefore the benefits of its lightweight did not outweigh the negatives in comparison to silicon.
STABILIZING AND UNDERSTRUCTURES. Another learning curve was testing out methods of stabilizing. I have tested lining the silicon with gauze and lawn cloth. This serves the purpose to not only stabilize for sewing but can change the whole feel and drape of the fabric. I have also used wash away quilting fabric to act and the sandwiching fabrics that can then be removed afterwards. Playing around with different options can be useful for future projects. If sewing with a facing, this could be pre cut and embedded into the silicon at these initial stages. Therefore, despite being an abnormal textile, I have figured out ways of making it very functional and easy to work with. Along with creating garments out of silicon, it is very heavy, something that will have to be resolved by better sourcing of materials. To carry the weight and for the pieces to not be a burden to the wearer, I had patterned and constructed a sequence of under bodices. These consist of double fused denim, a canvas interior (as picture) with flat felled seams for encasing boning. I also encountered issues with hook and eyes but with better construction technique they have resulted as successful understructures.
Afterwards by Herschdorfer was a book that caught my eye as its an unapologetic reflection of our environments, social issues and societal destruction. I related these images to China due to their aesthetic of order within disorder and also the same natural versus synthetic battles. They are both subjects that reflect our society and our environments that we ourselves create. The images of early century Chinese workers aren’t so relatable to my end product now. Though I decided to keep them apart of this practice because they guided me at this stage with proportions and how garments sit on the body. I have taken a more out of the box route but it was integral. Guy Tillim “Kunhinga Portraits, 2002-03” Refugees, Kunhinga IV, 2003 Albertina Natatu and Amelia Catembo, 2002 Henk Wildschut “Shelters, 2006-09” Calais, France, February 2006 San Isidoro, Spain, April 2007
FABRIC TOILING Once my concept was resolved to a point in my mind, I began working in an organic way to create shape and paneling. By using and recycling old toiles of classmates, and myself I have practiced deconstructing and reconstructing to patch together interesting shapes and design lines. This I feel had started to give a sense of reflection on the environments I have been looking into. The problem encountered here is the consideration of balance between fabrication and textile used.
FABRIC STORY My fabric story is very dear to me. There is balance between natural materials and synthetics to full tell a story. A mixture of sheer nylon and polyesters that give an almost tarpaulin reference in look and sound of movement. The natural fibred materials are all different weights, offering diversity in many textural ways. Alongside store bought fabric I also have wool and leather than is hand painted to crackle and add another element. These combine the diversity of the silicon versus fabrics. Color palette, since pre collection is still very tonal. It is very much not about black and white so tried to stay clear. The lilac and more glossy green are sent to be a point of randomness, neither completely fitting nor fighting.
“There’s an interaction between mat You can reinforce a sh Ann Demeu
terial and shape, they are connected. hape with a material.� ulemeester
PVC TOILING PVC was a fabric I used to toile in, that had a similar malleability as the silicon. Having tried a couple of thicknesses I found that the softer was much like unlined silicon where as the thicker was like silicon lined with lawn cloth. Working with the combination of the two I could plan and preempt what the silicon may do. With creating these shapes, it was about challenging what clothing could be, the shapes we are accustomed to and most importantly reminiscing on my imagery and concept. Overwhelming silhouettes are shaped and formed, with no starting interest in creating beauty, rather, adapting form and shape to the body thus being beautiful in itself. I had hoped to create pieces that are unique and had a real sense of difference to what is typically out there. This is a process I feel like I can do for a very long time, with so many possibilities and anxiousness to explore. The most critical point of this process from a method point of view is the continuous working from 3D form to 2D and repeats. Working to action research this process developed successfully. Due to the nature of this work I found working on a live model much much easier than a mannequin. Having the form be able to move and instantly respond was very special as I did that towards the end.
DRAWING COLLECTION COLLECTION AND COLLAGE Final lineup (bad one) At this stage drawing had become a lot more fluid for me. Mixing up pens and style helped induce the feeling I wanted in my clothes at the time. When drawing what I intended the silicon for became too hard, I turned to collage for my final lineup. This also was important as it freed my silhouettes and me up; shapes became very natural and not so forced.
LINE UP
CRIT PHOTOS Critique was particularly disappointing for me this time. Having looked at what I had created versus what I had intended for the overall aesthetic, it had fallen short. Certain garments no longer fit the story once all the pieces were put together. Upon reflection, this was a learning curve that could only be experienced once to know for the future. As the creation of textiles took so long and I wasn’t prepared for the quantity it made the whole process very tight where there was no time to stand back and look. I have learned how important this is, along with the process of refinement that at the time I hadn’t thought so much about.
After critique I began working on a model again. Stripping back, relating and refining design features. Reworking began with reviewing designs, analyzing what had been taken to far that needs pulling back. I also learnt that some aspects were over worked. With a concept that could go so many ways it is hard to stay in a consistent direction.
03/ CONCLUSION In conclusion I recognize that I ran out on time in the end in terms of successfully pulling the collection together. I feel as though I have experimented heavily and learnt a lot. I think I have been unhappy with the conclusion of my collection, although in hindsight I never set out to be happy. I hoped to develop my skills and design eye with experimentation. For me this is the beginning of a personal language of thought. Without failing in some sort, I wouldn’t feel so challenged, inspired and passionate to keep working and experimenting. I feel my outcome is some what simplified, just a fragment of what I wanted to achieve, but this is at no loss. Perhaps the greatest failure for me would be satisfaction at this point in my learning. Did I explore enough or did I open a too big of a project for this stage, I question.
For future assignments, I want to challenge the use of creative textiles to make use of them in a ready to wear collection that can be wearable on a daily basis. I am excited to see where this can lead too. I’d also love to work on refinement as its my next biggest challenge.
04/ REFERENCE LIST
References Braddock Clarke, S. E. (2014). Coming Undone. Selvedge, (56), 61-63. Bulfoni, C., & Pozzi, A. (2003). Lost China: The Photographs of Leone Nani. Milan, Italy: Skira. Derycke, L., & Van De Veire, S. (Eds.). (1999). Belgian Fashion Design. Antwerp, Belgium: Ludion. English, B. (2011). Japanese Fashion Designers: The Work and Influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo. London, England: Berg. Gong, L., & Shin, J. (2013). The Innovative Application of Surface Texture in Fashion and Textile Design. Fashion and Textile Research Journal. 15(3). 336-346. http://dx.doi.org/10.5805/SFTI.2013.15.3.336 Herschdorfer, N. (2011). Afterwards: Contemporary Photography Confronting the Past. London, England: Thames and Hudson. Lee, C. (2009). Observations on Winds of Desire. Log. (17), 26. http://www.jstor.org/stable/41765633 Palomo-Lovinski, N. (2011). Confessions and the Sense of Self: An Intellectual approach to Fashion Design. Design Principles & Practice: An International Journal, 4(6), 303-311. Quinn, B. (2002). A Note: Hussein Chalayan, Fashion and Technology. Fashion Theory: The Journal Of Dress, Body & Culture, 6(4), 359-368.