This is a project evolved from the original theme of Industrial Heritage. Step by step account of the entire process, beginning with the research stage, ending with the final garment.
The project begins at the Museum of Science and Industry in Manchester. The Museum displays many artefacts including one of the world’s largest collections of working steam mill engines, parts from the world’s first commercially available computer and more, all of which are sub-divided into a series of zones. This project specifically focuses on the Power Hall and Textile Gallery zone, which is home to everything related to the cotton industry in Manchester in the early nineteenth century.
The first stage of research includes photographing the machinery and other artefacts in the Museum. Taking notice of shapes and colours is an important process, as this will inform the final collection. The Power Hall is mostly made up of large, structured machinery, with lots of straight parallel lines, all in muted grey and brown tones. The Textile Gallery however, is looking more into print and bold colours, particularly focusing on Indian, Indonesian and African influence.
8
9
The next stage involves observational drawings from the museum pieces, including not only the machinery but also the workers uniform and cotton mill itself. The findings from this trip provoke interest in silhouette. The circular, curved shapes of the machinery and cotton spools are the initial inspiration for looking into twisted seams and hems. These rounded structures also inspire the overall feel of looseness and oversizing. Although bright African print is taken into account, the eye is more drawn to the muted browns and greys of the machinery, which works in conjunction with the emotions of the exploited workers.
A more in depth body of research is further developed around the the theme of wrinkles in the overworked, prematurely aged skin of the workers. This is to further clarify the idea of twisted seams in the final collection. A couple of the drawings, although not showing wrinkles specifically, are done in an abstract way, showing thick bold pen marks similar to folds in skin. However a more detailed pen drawing shows skin creases extremely well, similar to folds in fabric that could be achieved through tucks, or a double gather stitch. 13
The next stage was to try and turn the research ideas into a garment. In order to figure out how this would work and how to best achieve the wrinkles and folds, experimentation was undertaken in the form of moulage. This step also provides an understanding of how fabric falls/sits on the body. Wrapping and draping calico on a mannequin is a great way to begin visualising a concept.
16
Doing quick sketches of the photographs further aids the design process as it makes the transition to drawing garments easier. Practicing the creases, curves and folds makes the future garment sketches seem more realistic.
17
First, it’s time to make a toile. This is a practice of the final garment to see how it will look and figure out any changes that may need to be made. This begins with making pattern pieces from a standard block and editing it to create the desired final pieces. Doing a quick moulage of the collar gives a visual representation of how best the collar will work. Once the toile is finished, adjustments such as enlarging the waist and shortening the collar are made.
The final garment is carefully made, with the side buckle features added at the end to give the garment some shape as well as creating more ruches around the sides, in-keeping with the theme.