DESIGN REALISATION & PROMOTION 1 DE0858 “Industrial Heritage”
For this brief, I decided to do my research based on the Philippine Textile Industry since my heritage is from the Philippines. Along with this research, it can also help me gain more knowledge and understanding of my own heritage. To start me off, I looked at the different factors that influenced the Textile Industry of the country over the centuries: the Indigenous Tribes of the country, the Spanish & American Colonisation and the Agriculture Industry of the country. From these factors I then focused on the countrys’ famous fibres: Banana & Pineapple fibres, Abaca & Sinamay. Furthermore, I took inlfuence from the shape of the Pineapple fruit, leaves and fibres for ideas for Silhouettes, along with the shape of the farmers cotton shirts (that they wear when working in the fields). From these silhouettes, I have created a range of designs for Infantwear, Childrenswear & Womenswear. I then decided to go on to create a womenswear oversized-drop shoulder coat, which reflects the history of the country’s textile industry, from the oversize silhouette which is influenced by the farmers big movements when they are working in the fields, as well as using fabrics made from the Philippines and in Europe (which reflects how the country has been influenced by Western culture over the centuries).
The Spanish Colonisation of the Philippines greatly impacted the country’s textiles Industry. As this occurred during the war periods, the Spanish culture that ruled the country boosted the textiles economy during that time. As the upper class Spaniards wanted the finest clothing and the finest hand embroidery’s, they commissioned talented craftsmen and weavers to create their garments and accessories.
This my illustrations of two women wearing the ‘Mestiza’, which is what upper class women, wore during the Spanish Colonisation. To differentiate the different types of ‘mestiza’ worn by different women during the time, all you have to do is look at the embroidery designs on their shoulder section; if it was heavily embroidered with fine threads and beads, then the person wearing the garment is an upper class, if it was a simple embroidered design then the person would be from a lower class.
These are my illustrations of different embroidered designs used during the Spanish Colonisation. Even up to this day, these designs are still used on the Country’s National costumes.
The Spaniards and the Americans also brought the suit to the Philippines during these times. Therefore craftsmen and weavers gain knowledge of how to construct these garments and so comes the ‘BARONG’, which is one of the National Costumes of the country. This is made from pure Pineapple fibres, from the yarns of the fabrics and the threads used to embroider the designs.
They are mainly found in the South West part of the Philippines, although some have moved to the central suburbs of the country, most of the mangyan population still lives outside the modern world. Having to grow and plant their own food and make their own clothes from stripping down plant fibres and weaving them into yarns and cloths.
Another great influence for the Philippine Textile Industry is the Indigenous tribes that still live in the country. As there are 100 tribal groups in the country, I decided to focus on the MANGYAN TRIBE. The main reason for this is because my Grandmother from my mother’s sides’ family has ancestral routes coming from the Mangyan tribe.
These colours are taken from the illustrations that I have drawn throughout my research. Although most of the illustrations were drawn in black and white,
I decided to include a hind of light greys and dark blues along with the dark greys and black. The transparency of the aesthetic of the pineapple fibre cloth.
These are illustrations of a jute net material that I had at home. I was really interested with how the jute net was twisted from jute fibres and was then turned into yarns to make garments, hats, ropes and baskets. I also liked the aesthetic view of how they looked after being woven together, which is no where near what they looked like when they were raw fibres, stripped from the Jute plant.
I looked at what farmers wear in the fields as well as women clothes, back in the 19th centuries. From my research, they wore plain cotton shirts or open woven cloths that they wrapped around their body. I really liked the texture of the Hessian and Jute Net, which are the main materials used to make woven baskets and accessories.
Using the different pineapple stencils that I’ve drawn on my CPJ, I then rendered a jersey fabric underneath it to see how it would look.
These are illustrations that I have drawn for my Silhouette research. As I wanted to use Pineapple fibre, I then took influence from the shapes of the Pineapple Fruit and Leaves. I then played around with illustrating woven pineapple leaves, to see how they would look like. From these illustrations, I considered using them for print designs for my garments, but as time went pass, I thought it wouldn’t suit my designs, as I wanted my design to look simple.
I researched on which types of fabrics to use for my garment. As I wanted to create an oversized coat with a dropped shoulder, I thought of using a light jersey fabric to have a good drape onto my silhouette. Along with this fabric I decided to search for different types of lace and embroidered fabric that would go well on top of the jersey fabric, if it were appliqued on.
These colours are taken from the illustrations that I have drawn throughout my research. Although most of the illustrations were drawn in black and white, I decided to include a hind of light greys and dark blues along with the dark greys and black. The transparency of the aesthetic of the pineapple fibre cloth.
For my 60 designs I decided to create a range of designs from Infant wear to Childrenswear to Womenswear; as I was unsure at first of what type of garment to create.
For my designs I was influenced by the Philippines Textile industry and by the hand embroidered designs that artisan weavers create, which has its own story behind it.
Also I was greatly interested by the Sinamay and Abaca fibres that were used to create different textured yarns (from stitching yarns, to embellishment trims and yarns to create baskets). You can see from my designs that there is a flow of embroidery, applique and rope trims, as well as rouched, crosshatched and pleated fabrics. I wanted to create formal wear garments that can be worn for special events, but has a feel of the Philippine textile culture.
My silhouette was greatly influenced from the modern day farmer and the Pineapple fruit of the Philippines, as well as the modern day methods of creating and using fabrics in the Philippines Textile Industry.
As you can see the coat is oversized with a dropped shoulder, which reflects the movements of farmers working in the fields, as they would have to bend up and down to plough in the rice paddies. When you see rice farmers working in the fields, you think that their movement is light as they move quickly, so I decided to use a fabric that has a good drape on it, which is why I chose jersey plus it has a stretch as well, so it’s good for quick movements.
For my Final range collection, I decided to go with my Womenswear designs, so I developed key garments (that I chose) from my 60 designs, to create a more in-depth look that reflects the past and the modern day of the Philippine Textile Industry,
By how it was influenced by the Native tribes of the country and other colonization influences, that the textile industry faced during its history.
For the embroidery design on the bottom part of the coat, I decided to use an original Pineapple hand embroidered fabric, to reflect the history of the country’s’ textile industry.
Also you don’t really notice the design unless you look closely, the reason why I decided to create this effect is because, the use of fabrics made in the Philippines is not really put into context by Designers in the country, as they tend to use fabrics from the western part of the world, which I think is very unfortunate.
I will be using a black 72cm open end metal zip along with a dark grey knitted ribbing fabric for the cuff, which the colors should compliment the shade of the main fabric of the coat. The pockets will have a zig-zag stitch embroidery on top of the seams, as well as a zigzag stitch to separate the main fabric and the embroidered fabric on the bottom hem of the coat. The embroidery design at the bottom hem of the coat (front & back) will be sewn as an applique.
This is my toile for my Overcoat and dropped shoulder coat design. At first I didn’t think that having a dropped shoulder along with an oversized silhouette would become a problem. But as I began to sew my toile,I came across a lot of problems with my dropped shoulder. With this I had to alter the shoulder pattern more than 3 times.
This is the finished toile, which has a suitable drop to the shoulders. After altering the shoulder patterns, the sleeve now hangs well, which creates a well suited oversized silhouette; without any restrictions to arm movements.
My first problem with the shoulder pattern was it was too small, therefore arm movements were too restricted when worn. So I added 5 cm on the underarm pattern, which made it possible for arm movements. The second problem I faced with the shoulder pattern was the actual shape of the shoulder. At first it had a pointy effect when worn around the shoulder. So I had to keep adjusting the drop shape around the shoulder. My third problem was creating a drop shape on the shoulder, which was not too low nor too high. As having a far too low drop creates a fitted silhouette, but then having a high drop leaves a pointy effect where the garment lies on the shoulder.
1 NOITOMORP & NOITASILAER NGISED 8580ED ”egatireH lairtsudnI“