FABRICate
Copyright Š 2011, Madison Detro/ Cal Poly Architecture Department. All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owners. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned. Errors or omissions will be corrected in future editions. Printed and bound in the United States. First edition, 2011
FABRICate BY MADISON DETRO California Polytechnic State University Bachelor of Architecture Thesis Professor Karen Lange 2010-2011
THANK YOU Dad Mom Shauna Mike Makena Malone Tait
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010 012
ABSTRACT
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SITE
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EXPERIMENTS
ISSUES
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PATTERN MAKING TEXTILES FABRICATION
THE BODY PROPORTIONS 24 HOUR
PERMEATE PARTITION RECLOTHE
PRECEDENTS
BAD PRESS: DISSIDENT IRONING THE WIZARD OF JEANZ BURKA DISTORTION
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PROGRAM
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ESSENCE
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FINAL COLLECTION
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SELF COGNIZANCE
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APPENDIX
NUDITY CARBON PAPER SUIT SKIN AS CLOTHING GOLDEN SECTION FORMATION TRANSIENT DUALITY
BIBLIOGRAPHY TEXT REFERENCES PHOTO CREDITS
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ABSTRACT
ABSTRACT
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Current advances in technology have shifted design techniques towards more efficient and exact forms of fabrication. Computer programming and digital media have become more developed and accessible in the past few decades. Architecture has used 3D modeling and rendering programs for a relatively extended period of time, while the use of digital methods in fashion design has gained much slower popularity. Laser cutting techniques have the potential to transform a variety of processes in fashion design including patternmaking, textiles, and fabrication. The use of digital programs redefines the potential of fashion design. During the design process, the use of computer applications allows for the use of a wider range of tools that enhance design capabilities. These digital techniques encourage a higher standard for design that cannot be achieved through hand drawings alone. A variety of computer programs produce new methods for patternmaking that enable the designer to more readily manipulate and transform their designs until the desired final layout is achieved. Computer technologies for design processes achieve a high level of precision, which also allows for greater repetition in production. Laser cutting patterns enables the designer to cut patterns in fabric without laborious manual methods. With more precise cuts, designers can manipulate fabrics in more ways to produce a variety of effects. Folding, weaving, draping, pleating, and sewing improve as a result of more exact cut lines. Accuracy in this form of fabrication leads to better quality and consistency among garments being manufactured to sell.
Evolution of the use of digital media in fashion design and fabrication processes also changes aspects of retail and marketing, making production much more reliable and consistent. Clothing can be manufactured at faster, cheaper rates that don’t require such intense levels of manual labor in sweatshops. Better quality and exactitude of clothing makes it more marketable and puts a higher value on the product. Developments in digital fabrication for fashion design have greatly improved in past decade, widening possibilities for even more advancements in the future. Digital pattern designs, laser cutting methods, and retail have each improved and contributed to an enhancement of the fashion design process. Methods of creation for designers have shifted to new realms of limitless exploration, adapting the fashion industry to new standards reflecting present day technologies.
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ISSUES
ISSUES
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ISSUE #01 PATTERN MAKING ISSUE #02 TEXTILES ISSUE #03 FABRICATION
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ISSUE #01
PATTERN MAKING
ISSUE #01 PATTERN MAKING
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Can we seek possibilities in transformation of body shape and ambiguity because fashion has too strictly defined the boundaries of its forms and is therefore only one-dimensional?1 -Issey Mikaye
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ISSUE #01
PATTERN MAKING
ISSUE #01 PATTERN MAKING
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In recent decades, fashion designers have adapted to new methods of pattern making that have greatly influenced the process of design in fashion. The transition from hand drawings to computer based CAD programs has allowed the designer to outline 2D patterns in digital a format. Through digital media, designers are able to more readily alter their patterns without losing original forms. They can more accurately and consistently design patterns to fit specific standards. These traditional 2D CAD pattern making methods develop from the relationship between apparel topography, critical body measurements, and 2D flat pattern alterations using a hands-on approach.2 As technology has advanced even farther, computer programming has also become capable of pattern marking through the use of 3D apparel modeling. Fashion designers use three different types of 2D systems for customized apparel design. The first, parametric design improves design and alterations but is difficult because of problems with graphical structure laws for apparel patterns. A set of parameters constrained by body measurements defines the geometric structure of the pattern. The second, a traditional grading technique, is the most practical approach because it is simple in theory, Fashion designers use three different types of 2D systems for customized apparel design. The first, parametric design improves design and alterations but is difficult because of problems with graphical structure laws for apparel patterns. A set of parameters constrained by body measurements defines the geometric structure of the pattern. The second, a traditional grading technique, is the most practical approach because it is simple in theory, although it requires that the designer have previous knowledge and experience dealing with pattern making.
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ISSUE #01 PATTERN MAKING
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Grading techniques enable designers to apply a garment design to a sizing scale so that it can be marketed to a variety of customers. The third, pattern making generated through artificial intelligence, requires less experience but involves experimentation with each garment being produced. With AI, designers predict patterns based on body measurements, fitting requirements, and fabric properties. These three techniques in 2D pattern generation have led the way to 3D CAD developments. Designers now possess the tools to make patterns through surface flattening techniques from 3D apparel models. The two methods, geometric flattening and physical flattening, extract 2D patterns from 3D models, which proves difficult due to the distortion of fabric when its form is manipulated. The geometric flattening method maps the 3D triangles of the surface into a 2D plane, which can then be developed into a pattern.
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This method presents errors because it does not consider material properties that can alter surface areas. The physical flattening method, on the other hand, minimizes fabric distortion by incorporating algorithms to determine the most practical 2D pattern that folds into a 3D surface. Only recently have designers had the means by which to design 3D garments directly on digital 3D models of the body. Both 2D and 3D computer programming for fashion design have enhanced creativity in designers by inspiring them with a wealth of new design tools for pattern making. New techniques have led to more complex but much more accurate patterns that can be easily manipulated to fit different body types. Digital pattern making permits designers to work more efficiently and develop unique works that reflect the state of technology in the world today.
ISSUE #02 TEXTILES
ISSUE #02 TEXTILES
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One of the primary attributes of the fold is mutability - if something can be folded, it can be unfolded and refolded. The fold is forgetful. The crease, on the other hand, can be a more compelling metaphor because it has a memory. The crease is a trace. It has a representational value - in the nature of an inscription. While the fold implies reversibility, the crease is decisive - a one way system which accumulates information. But, of course, the crease is not absolute. It can be dissipated with steam heat.1 -Diller + Scofidio
ISSUE #02 TEXTILES
ISSUE #02 TEXTILES
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The invention and creation of innovative fabrics still remains the hidden gem of the fashion industry. Historically, fashion designers have selected their fabrics based on qualities such as their texture, handle, stretch, and drape. More recent approaches involve designers creating completely new systems of textiles through the manipulation of existing fabrics. Contemporary processes such as laser cutting, etching, burning, needle punching, latex coating, and heat setting lead to a wider spectrum of materials available to designers.2 With the opportunity to create oneoff pieces through textile design, fashion designers can more easily express their personal styles through their collections. Advanced processes of fabric treatment take traditional techniques of weaving, knitting, crocheting, folding, pleating, and dyeing to new extremes that inspire an unprecedented process of design to take place. They reveal to designers a variety of new opportunities for expression in clothing. Technology enhances fashion design through multiple forms of textile manipulation. Deconstruction, made popular by Japanese designers Rei Kawakubo and Yohji Yamamoto, evolved from mistreatment of fabrics through tension, distress, boiling, wrinkling, and ripping.3 British designer Martin Margiela enhanced deconstruction with the use of recycled materials as the basis for textile design.4 He successfully produced a waistcoat from discarded gloves, a sweater from army surplus socks, and a dress from combs.
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ISSUE #02 TEXTILES
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Another Japanese visionary, Issey Miyake, has developed methods to produce garments that emanate from a single thread with the use of knitting machinery and tubular mesh that reduces waste.5 In addition, Miyake has mastered pleating methods that flatter and enhance the body of the person wearing the garment.
This technique changes silhouette in a radical way and has lead to new diagonal and two-way pleat geometries with laser cut effects. Deconstruction, recycling of materials, and laser cut pleating represent only a small sample of the possibilites involved with fabric manipulation through technological advances.
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ISSUE #03 FABRICATION
ISSUE #03 FABRICATION
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Three dimensionality is achieved by creasing along the triangle vertices with alternating concave and convex creases, transforming the flat plane into a double corrugated surface.1 -Sophia Vyzovitia
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ISSUE #03 FABRICATION
ISSUE #03 FABRICATION
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Fashion designers have grown accustomed to the use of a variety of digital fabrication methods. The most common practices include printing, cutting, and etching. These applications have strongly influenced the work of current fashion designers, enabling the creation of never before seen textiles in their collections. Designers can translate their digital patterns drawn with CAD programs to 3D forms through laser machinery. These advanced processes have aided in heightening the quality, precision, and speed of clothing production, especially for one-off pieces. The most important aspect of digital media for pattern making is the ability to use the electronic files to produce the patterns in fabric through digital methods. Laser cutting is gaining popularity as a means of accurately and efficiently cutting patterns using a variety of techniques. Aside from strictly cutting out the pattern pieces themselves, this machinery is capable of etching designs and punching out hollow shapes within the fabric.2 Printing with a laser creates intricate designs of a quality that cannot be executed through any other method. Such approaches are forms of fabric manipulation that, when combined with conceptual design, can bring forth unique textiles. As a means of cutting, the laser is most effective because it sears the edges of the fabric as it cuts, stopping the edges from fraying or unraveling.3 The laser can cut through most all materials, including suede, twill, leather, wool, and nylon.
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ISSUE #03 FABRICATION
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Fabrics can be layered and laser cut simultaneously to produce appliquĂŠs.4 Laser cutting can create fragile lace-like fabrics through detailed hole punching techniques. Laser etching enables a designer to make accurate marks on the fabric that will be used in the sewing process. The machine can score fold lines in the fabric or etch marks to designate the placement of buttons and pockets. The outcomes of such techniques are meticulously cut fabrics to be used in clothing assembly. Patterns can be cut in mass quantities at the same level of accuracy, making production quicker and more efficient. Use of laser cutting has the potential to produce clothing in the category of mass customization. While the pieces are being cut in mass quantities, the nature of the digital patterns allows them to be manipulated in customized manners. Some patterns for the laser cutter consist of a set of parts that can be assembled in a variety of ways to generate multiple outfits from the same basic blocks. Fashion designers using the laser cutter for fabrication of their garments can take advantage of mass production and mass customization processes.
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Using digital machinery for fabrication of clothing allows for levels of precision that cannot be achieved through manual labor. More accurate cuts of patterns result in improved quality of end products because it makes all of the seams more exact and easier to sew. With superior products, fashion designers can market their clothes at a higher value with a lower manufacturing cost. Through laser cutting, they can produce oneoff pieces from a standardized pattern, minimizing time spent on the design process. Laser machinery allows fashion designers to translate their 2D digital patterns into 3D manufactured pieces through etching, printing, and cutting techniques with exceptional precision and quality.
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THE BODY
SITE
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PROPORTIONS NECK CHEST WAIST HIPS 24 HOUR
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THE BODY
SITE THE BODY
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The garment de-limits the surroundings of the body and marks out a territory, thus allowing a person to reappropriate the notion of living to the notion of being in the garments/habitats.1 -Christina Morozzi
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THE BODY
SITE THE BODY
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The human body is a complex living organism, comprised of a multitude of systems that interact with each other to maintain proper functions and responses for the body to survive. Evolution has lead to the current form of the body as the ideal machine for living. The body influences the way a person moves, walks, talks, and interacts with his or her surrounding environment. Muscles, veins, pores, and nerves are only some of the many parts that make up the infrastructure of the body, allowing a variety of networks to work together. Each of the systems of the body plays a specific role to keep the body healthy and alive. The skeletal system of a healthy adult has 206 bones that serve to provide structure to support the body and protect from the fragile internal organs.2 The respiratory and circulatory systems keep the body alive through the processes of breathing and proper blood flow. Blood and oxygen circulate through the body to help with brain function and the healing of wounds.3 The digestive system allows the body to process the intake of food, extracting and storing nutrients and converting the food into energy.4 The excretory system removes the remainder of food that the body does not process. The muscular system consists of over 650 muscles that providemovement for the body.5 The endocrine system involves hormones that regulate mood, growth and development, tissue function, metabolism, sexual function, and reproductive processes.6 Lastly, the immune system keeps the body healthy by protecting against disease.
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SITE THE BODY 038
The skin, one of the most prominent features of the body, mediates between the body and the environment, protecting from germs and allowing the body to sense temperatures and pressures of the surroundings. The internal temperate of the human body remains at a constant 98.6˚ under normal conditions. When the external temperature differs from the internal temperature, the blood vessels under the skin either contract or expand to regulate temperature by increasing or decreasing blood flow. To increase heat, the brain causes skeletal muscles to shiver involuntarily. The body produces more perspiration to increase evaporation, which keeps the skin cool in warmer temperatures.7 Humans use gestures to nonverbally communicate with each other and interact in their surroundings. A gesture is a natural movement of any part of the body that conveys a thought or emotion or reinforces oral expression. “Blushing, blanching, sweating-like the eyes and the mouth, skin is also a medium, a means of communication,� according to Georges Teyssot.8
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SITE THE BODY
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As for physical freedom, the arm alone has seven degrees of movement, which allow for the body to fulfill its needs through physical expression. There are three in the shoulder, one to bend the elbow, one to rotate the wrist, and two to move the wrist up and down and side to side.9 The freedom to move about enables a person to get from one place to another. Before reaching this advanced stage of human development, our ancestors did not possess the same capabilities of movement. Ecological changes in the shape and flexibility of the body over thousands of years have lead to our current life form. The convexities and the concavities of the body form allow for humans to wear clothing as a form of protection against the environment. All garments depend on the body’s convexities such as the shoulders, bust, hips, thighs, buttocks, elbows, and hands for support.10 Clothing was not always worn by our ancestors, but is now a crucial aspect of daily living. It acts as a second layer of skin that helps to protect the body from sun, wind, germs, and other external factors. Like the internal systems of the body and skin, clothing provides a necessary response to and protection against the outside world.
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SITE
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NECK
SITE PROPORTIONS
PROPORTIONS
CHEST WAIST HIPS
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SITE
PROPORTIONS: NECK
SITE PROPORTIONS: NECK
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The origin of the ruff is attributable to the wearing of white linen undergarments and shirts to protect the richer more fragile outer fabrics of dress from both the perspiring body and the friction of the skin against the neckline and wrists.1 -Harold Koda
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SITE PROPORTIONS: NECK
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The use of heavy fabrics around the neck disrupts the relationship of the head to the body. It poises the head above the body, framing the face. The neck functions as a place to display wealth and symbols of luxury because of its juxtaposition to the face.2 Extravagant collars and lacework are common decorations for the neck as a means of flaunting status. Broadening and elongating the neck through adornment lead to the exaggeration of the shoulders as a way to slim the waist.
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PROPORTIONS: CHEST
SITE PROPORTIONS: CHEST
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As the most obvious secondary sexual characteristic of women and as a zone of malleability, the bust has been the site of major physical manipulation.3 -Harold Koda
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Through the twentieth century, the bust has experienced the most varied structural interventions of any area of the body. At times large breasts are viewed as desireable, while other times a lack of breasts becomes the ideal. During times that voloputous breasts receive the most attention, woman find ways to augment the look of their breasts through the use of extra support. Padding of corsets with horse hair and air are common means of adding lift to a woman’s breasts.4 Corsets can also be used to conceal a woman’s breasts.
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PROPORTIONS: WAIST
SITE PROPORTIONS: WAIST
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If the fashioned waistline is defined as the narrowest point of the torso, it was transient even at the earliest phases of its development.5 -Harold Koda
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The ideal waistline is subject to great visual and physical adjustment as society’s standards are everchanging. History has seen wide waists in their prime, as well as eras where slender waists are the most desirable. Intervention at the waistline affects the whole torso, including the bust and the hips.6 Whether thicker or thinner, designers have historically placed great emphasis on the waist. Some prefer to hide the waist in layers of fabric as a mean of slimming the figure, while others tighten belts around the waist for illusions of slenderness.
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PROPORTIONS: HIPS
SITE PROPORTIONS: HIPS
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The dilation of the hips was seen almost immediately as another expression of the idiocies of vanity and the frivolity of fashion.7 -Harold Koda
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Creation of the farthingale has lead to the view of hips as a structural possibility. The use of support under clothing, such as panniers, petticoats, and side hoops, exaggerates the hips to increase the fullness and width of the lower body that signifies femininity. The separation of the dress from the underskirt creates a graceful movement on the body as a woman walks. Even as the exaggerated form of the hips returned to a smaller scale, the use of the bustle increased to emphasize the shape and firmness of the rear. Some bustles were made of cushions, wires, basket frames, or whalebone sticks to enlarge the derriere, just as panniers enlarged the hips.8
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SITE
24 HOUR
SITE 24 HOUR
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A 3D represenation of the body in abstract form differentiates between public and private areas. Private regions should remain hidden, while the rest of the body can be revealed.
Exposure of the body to the surroundings depends on the degree of sensitivity of a particular area of the body. These areas also reflect relative zones of warmer temperatures.
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SITE 24 HOUR 062
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24 HOUR
SITE 24 HOUR
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The heart is the driving force of life. Without a heart, the body cannot survive because it is the heart that pumps blood and oxygen through the body, allowing all parts of the body to function properly. The circulation of blood through the body is a constant cycle, with one cycle taking between only 20 to 30 seconds to complete. Blood weaves its way through an endless cycle of arteries and veins, branching from larger to smaller passageways, before eventually returning to the heart. While the body rests, the heart beats more slowly. but during periods of greater activity the heart speeds up. Heart rate controls the amount of blood and oxygen passing through the body, adjusting to the body’s needs at any given moment. During sleep, the beats become more regular and spaced farther apart because the body is not moving or being subjected to any external factors. The moment of awakening can be noted on the heart rate graph as a sudden jolt of faster beats after an extended period of slow beats. The body intuitively knows it is time to wake because the heart jumpstarts the brain into action. Throughout the day as the body becomes more involved in the hustle and bustle of life, the beating of the heart adapts to the environmental circumstances. More strenuous activities cause abnormal heartbeats that come irregularly and very quickly. On the graph, there are multiple extreme dips in the heart rate, caused by sudden influences of the surroundings, which stimulate the sympathetic nervous system to react through an increase in heart rate. This is a fight or flight response that occurs before the parasympathetic system can take control and promote a steadier beating of the heart.
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SITE 24 HOUR
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The occasions of interrupted heart beats on the graph come from moments of instability while snowboarding. The heart increases during falls or when going air borne off jumps in the terrain park. These unnerving moments take one’s breath away for an instant, causing an instantaneous fluctuation in heart rate. Knowledge of heart function helps to understand the body’s reactions to external factors. Ventilation of the body coincides with the beating of the heart. During extended periods of elevated heart rate, the body temperature also increases due to greater exertion of energy. To stabilize the heart rate and the temperature, the body perspires to cool itself. The heart slows as the body returns to a comfortable temperature. Comprehending ventilation properties as they relate to the heart rate during various activities allows a better understanding of the body’s needs.
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Because clothing is a necessity of the body, it is crucial to understand the changing ventilation needs of the body as it reacts to environmental conditions. Heart rate records relative changes in heating and cooling of the body according to the hearts adaptation to different activities. It measures the body’s reaction to what is happening in its surroundings and how it readjusts accordingly. Ventilation properties of clothing should reflect fluctuations in the heart rate, cooling when beating increases and maintaining heat with regular or slow beats. It is only natural that the body’s need for protection in the form of clothing should adapt to the changes of the driving force of life, the heart.
EXPERIMENTS
EXPERIMENTS
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EXPERIMENT #01 PERMEATE EXPERIMENT #02 PARTITION EXPERIMENT #03 RECLOTHE
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EXPERIMENT #01 PERMEATE
EXPERIMENT #01 PERMEATE
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Cactus and ballons. Hanging in nylons. Like needles against skin. Eliciting fear. Evoking curiosity.
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EXPERIMENT #01 PERMEATE
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The contrast between cactus and balloon instantly creates a sense of uneasiness due to the potential of the spines to burst through the delicate skin at any moment, producing a startling “POP!� Nylons conform to the multiple dimensions of the cactus and the balloons confined within them. Distortion of the pantyhose allows for the cactus spines to protrude from the nylon.
They become gathered in certain areas as the fabric collects between the spines. In other instances, the fabric is stretched, making it more transparent, especially surrounding the smooth surface of the balloons. As the cactus and balloons hang together in the nylons, their threatening contact remains at the mercy of a light breeze.
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EXPERIMENT #02
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A curtain divides private/public.
EXPERIMENT #02 PARTITION
PARTITION
A curtain differentiates in/out. A curtain combines door/window. A curtain creates light/dark.
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Manipulation of a curtain allows for the user to select their level of interaction with the world. A closed curtain demands privacy and darkness, whereas an open curtain invites the public and light into a space. Between these two extremes remain infinite degrees of transparency that can reflect or influence the mood of the user at any given moment. Variations in the curtain materials control the levels of transparency of the curtain. Some allow excessive amounts of light to penetrate, while others restrict the passage of light completely. Drawing the curtain signifies a user’s desire to be isolated from the exterior in a private, withdrawn space. The user becomes separated from the life outside of the space. But a gathered curtain allows views outward that frame the activity of the outside world. Function of the curtain as a barrier pertains to the time of day and the amount of light filtrating either inward or outward. During waking hours, a closed curtain obstructs daylight from entering into a space. At night, the same closed curtain contains light within a space to prevent its exposure to the dark exterior.
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A curtain functions similarly to clothing in terms of protection and ventilation. Clothing conceals private regions of the body and forms a barrier against external conditions of the environment. Like the unlimited degrees of light penetrating through various materials of the curtain, many different fabrics allow for variations in exposure of the body to the world. More layers of clothing indicate less direct contact with the surroundings, and sheerer garments allow greater contact.
EXPERIMENT #03 RECLOTHE
EXPERIMENT #03 RECLOTHE
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4 4 + 4 1
Men’s Dress Shirts Bottles of Resin Days Table
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EXPERIMENT #03 RECLOTHE 080
A combination of fashion and furniture, this table exemplifies techniques of folding as a means of strengthening. Folding and overlapping the four dress shirts in a radiosymmetrical pattern creates reinforcement in the table when the shirts are cast in resin. The sleeves from each of the shirts align and join with the adjacent sleeves to create the supports for the table at each of the corners. Having the shirts interconnected in the center surface allows for the table to support its own weight with the help of nothing other than resin. The resin allows the shirts to maintain their folded shape and to form one freestanding, independent unit. The lightweight structure framed from dress shirts hardened in resin proves to be durable and supportive.
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PRECEDENTS
PRECEDENTS
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PRECEDENT #01 BAD PRESS: DISSIDENT IRONING PRECEDENT #02 THE WIZARD OF JEANZ PRECEDENT #03 BURKA PRECEDENT #04 DISTORTION
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PRECEDENT #01
BAD PRESS:DISSIDENT IRONING
PRECEDENT #01 BAD PRESS: DISSIDENT IRONING
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by DILLER + SCOFIDIO 1993
Diller + Scofidio’s experimentation with ironing is derived from the theme of efficiency of housework in the 1920s. The housewife of the early 20th century was expected to remain in the house to work, during a time that society’s obsession with cleanliness was greatly increasing. The concept behind Diller + Scofidio’s work seeks to remove the tediousness of ironing as a means to keep order in the household. At this time, methods of ironing intended to refine the shirt with crisp, clean lines. Ironing reshapes a shirt by creating flat facets, always returning the shirt to its original rectangular shape that is based on orthogonal storage systems. A shirt is shipped in rectangular cartons, stored on rectangular display cases for sales, and kept in rectangular dresser drawers in personal closets. Diller + Scofidio suggest that the “practice of ironing could free itself from the aesthetics of efficiency altogether” by “trading the image of the functional for the dysfunctional.”1 Through creative systems of ironing, they have freed the shirt from its traditionally orthogonal confines.
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PRECEDENT #01 BAD PRESS: DISSIDENT IRONING 086
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With non-conventional ironing, Diller + Scofidio have devised new standards of refinement for shirts. Their folding techniques create patterns on the shirt that become an inherent feature of the shirt itself once unfolded. The creases left behind represent a new generation of housework, in which the user is no longer restricted by laborious ironing routines. Ironing is just one element of housework that evokes sensations of organization. According to Diller + Scofidio, “Housework is a system of defense which protects the home and body alike from external invaders.�2 Rituals have developed out of society’s necessity for hygiene that conform to a high standard of sterilized living.
PRECEDENT #02
THE WIZARD OF JEANZ
PRECEDENT #02 THE WIZARD OF JEANZ
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by HIROAKI OHYA Spring/Summer 2000
A set of books folds into garments in Hiroaki Ohya’s collection, inspired by L. Frank Baum’s series “The Wizard of Oz.” The transformation from object to clothing relies on various folding techniques. As a complete set of 21 garments, the collection expresses the spirit of each of the volumes of Baum’s story with the use of different fabrics and folds. Through his work, Ohya challenges the notion of fashion as a cyclical system, and is inspired by the longevity of books as a means of carrying ideas. He believes that “fashion should be more about stories and fantasies that transport us from the daily grind.”1 Hiroaki Ohya plays with folds in fabrics to create a collection of transformable garments that tell a story.
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PRECEDENT #03 BURKA
PRECEDENT #03 BURKA
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By HUSSEIN CHALAYAN 1996
With only narrow slits for her eyes, the traditional dress of an Islamic woman limits her relationship with the exterior world. This form of dress known as hijab intends to exclude the woman from public affairs and ensures that she remains inferior to the males in society. The hijab hides the sexuality of a woman and removes her sense of identity. Hussein Chalayan’s collection explores the truths behind the burka, part of the hijab dress. He challenges the notions of modesty, femininity, and identity historically implemented by the hijab dress.
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PRECEDENT #03 BURKA 094
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PRECEDENT #04 DISTORTION
PRECEDENT #04 DISTORTION
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By ANDRÉ KERTÉSZ 1930s
The media has always portrayed a skewed image of the ideal body type for women. Kertész’ series of photos intend to mimic the distortion of the human figure that has caused a shift in the way that society views the female body. These satirical photos express extreme
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misproportions that create impossible expectations of the idealized female body. Too much emphasis is placed on the importance of being a particularly perfect size and shape, instead of enhancing the various unique qualities of each individual woman’s figure.
PROGRAM
PROGRAM
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Fabric. Interface. Zippers. Snaps.
Lining.
Tape.
Thread.
Buttons.
A kit of parts that have no independent functions, but as a whole create entire garments. Through mapping systems of ventilation and proportions of the body, patterns can be digitally designed through CAD to create standardized blocks that piece together to form a variety of clothing pieces. These patterns consist of fold and cut lines that are etched and cut out of fabric with the use of the laser cutter. Based on folding algorithms, the CAD patterns transform from 2D flats to 3D garments through manipulation of the fabric. Garment structure depends on the convexities and concavities of the body, which will be the focus of studies on body proportions. The folding of the fabric is derived from a system of cuts and creases that will generate exaggerated forms of the body based on ventilation properties. Heating and cooling systems of the body control the layering of fabric in the garment design. The distinction between public and private spaces coincides with the varying skin temperatures of the body. Warm, private spaces require stronger protection against the environment, while the colder public areas can withstand greater contact with the surroundings. The manipulation of fabric through cuts and folds becomes representative of the proportions and form of the body, while they pertain to ventilation properties.
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PROGRAM
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The layout of the folding patterns in CAD determines the alteration of the fabric in its transformation from a 2D to 3D piece. The patterns create a foundation of basic pieces that can be folded in multiple ways to create customized pieces after the patterns have been laser cut in the fabric. Because of the ease of CAD programming, the patterns can be applied to a small collection of three pieces, including a dress, pants, top, and jacket. Manipulation of the fabric for each piece varies depending on its place on the body and its function as a form of protection. Pants serve a different purpose than a jacket, so its shape and ventilation properties must be altered accordingly. Garment production relies on the complete kit of parts, fabrics, thread, and enclosures, to form a final product. Fabric types determine thickness, opacity,
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texture, and movement of the garment on the body. Zippers, buttons, and snaps each perform a particular function as a means of joining pieces of fabric. Each of them creates operable openings in the garment that aid in proper fitting on the user. The garment attaches to the body based on its convexities and concavities, but can only fit properly with the use of enclosures after the garment has been openly draped on the figure. Each piece of the collection fits the body differently depending on shape of the particular region of the body and the temperature of the skin being covered. The degree of manipulation for each piece in the collection, through the fabric’s folding and cutting patterns, changes according to the mapping studies of proportions and ventilation of the body.
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NUDITY
ESSENCE
ESSENCE
CARBON PAPER SUIT SKIN AS CLOTHING GOLDEN SECTION FORMATION MAPPED BODY STRUCTURED BODY FACETED BODY QUILTED BODY TRANSIENT DUALITY
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ESSENCE NUDITY
ESSENCE NUDITY
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Humans have a complex relationship with their bodies. Why can a person undress comfortably in the privacy of his own home but not on the street? Why does human instinct cause a person to stare in fascination at the bare human form? Why have societal standards caused humans to be ashamed of their bodies?
Clothing offers a sanctuary for a person to hide from insecurity, which comes only from societal morals surrounding the notion of nudity. If the concept of clothing were removed, how would people respond to the body? How would a person’s identity differ when naked?
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ESSENCE NUDITY
ESSENCE NUDITY
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Instead of clothing concealing the body beneath, it should emphasize and highlight the form of the body. Clothing should act as an extension of the body without trying to hide the natural beauty of the human form. Because humans require clothing in terms of protection against environmental conditions, using garments as a continuation of skin replaces the notion of human nudity.
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ESSENCE
CARBON PAPER SUIT
ESSENCE CARBON PAPER SUIT
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The carbon paper suit allows its user to evaluate the movement of the body and its relationship to the garment. The creases and folds created in the paper recall moments of bending or twisting of the body. The body itself bears the traces of carbon transferred from the garment to the body in areas where the body receives the most direct contact with the garment.
FRONT
BACK
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ESSENCE
SKIN AS CLOTHING
ESSENCE SKIN AS CLOTHING
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Skin envelops the human form to create a relationship between the exterior world and the internal workings of the human body. This system promotes communication between the inside and the outside, allowing for the body to react and adapt to external environmental conditions. Because skin is the outer most element of the body, it contributes to a person’s self image and sense of identity. A garment must interact with the skin and become an extension of the body.
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ESSENCE
GOLDEN SECTION
ESSENCE GOLDEN SECTION
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Nature consists of numerous recognizable patterns and sequences that evolve seemingly from nowhere. The Golden Section determines proportions and relations found in nature, which intrinsically create functions of beauty. Often these relations are not visually perceived or identified, but they provoke a subconscious sense of awe and divine beauty.
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ESSENCE
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MAPPED BODY
ESSENCE FORMATION
FORMATION
STRUCTURED BODY FACETED BODY QUILTED BODY
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ESSENCE
FORMATION: MAPPED BODY
ESSENCE FORMATION: MAPPED BODY
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The human body exemplifies the notion of the Golden Section. These proportions, found naturally in nature, follow patterns that create a variety of relationships between body parts. For instance, the distance between the elbow and the fingertip is proportional to the distance between the wrist and the elbow. Humans beings are innately more attracted to bodies and faces that closely follow the Divine Proportion. This mathematical beauty should be kept in mind through the design development of a garment. If properly proportioned, a garment will help to enhance the Golden Section characteristic of the body and make it more desirable. A stricter adherence to the Divine Proportion increases a woman’s attractiveness and will subconsciously evoke stronger vibes of fertility.
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ESSENCE FORMATION: MAPPED BODY 118
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ESSENCE
FORMATION: STRUCTURED BODY
ESSENCE FORMATION: STRUCTURED BODY
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Certain forms of the body are emphasized in an expression of femininity and identity. The hips represent fertility in a woman, thus the enhancement of the hips employs the notion of a sexualized woman ready to attract a mate. Exaggeration of the shoulders seeks to give the woman a prominent sense of class and prove her power in the world. These forms, although external on the body, become part of the skeletal system that gives structure to the fabric of the garment which acts as skin.
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ESSENCE
FORMATION: FACETED BODY
ESSENCE FORMATION: FACETED BODY
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The fabric stretched over the structural framework conveys the exaggeration of the body to represent a the fertility of a woman. Facets in the garment represent the curvature of the body in a stricter appearance. Convexities and concavities remain intact, but can be more precisely defined by the lines created through the fragmentation of form. Variations of angles create depth in the garment and aid in the accentuation of certain parts over others. Varying degrees of light being cast on the individual facets of the garment highlight its angular form, which encourages the exaggeration of body parts that represent the sexuality and fertility of the woman.
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ESSENCE
FORMATION: QUILTED BODY
ESSENCE FORMATION: QUILTED BODY
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ESSENCE
TRANSIENT DUALITY
ESSENCE TRANSIENT DUALITY
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Winter 2011 Bookshow Installation
People venture through a field 11,000 strings where they encounter certain voids in which they can pause to read a book or take a moment to recenter themselves. These empty spaces scattered among the strings cannot be recognized from the exterior, but are only discovered upon exploration. Upon passing through the installation, people experience an infinite number of moments, in which they must continually redefine their place in the context of their surroundings. While wandering through, they continually lose and rediscover themselves as they have a lessened sense of connection to the rest of the world.
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LOOK #01
FINAL COLLECTION
FINAL COLLECTION
LOOK #02 LOOK #03
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FINAL COLLECTION
FINAL COLLECTION
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The final collection showcases three looks that each represent a from of exaggeration of the body. The first piece is a jacket that seeks to emphasize the shoulders in terms of a modern day shoulder pad. The second is a skirt that places an empahsis on wide feminine hips. The third look is a dress that has a built in corset to bring focus to the woman’s waist. All three looks also exaggerated breasts as part of the outfit. As a whole, the three pieces present a very structured system of clothing in which the body itself has become pushed and pulled to create the effects of enlarged body parts. These new forms give way to an altered sense of identity as the woman becomes part of the new form of her own body. The notion of an ideal body shape and type is ignored because the exaggerations create an entirely new effect in terms of proportions.
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FINAL COLLECTION LOOK #01
FINAL COLLECTION LOOK #01
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FINAL COLLECTION LOOK #02
FINAL COLLECTION LOOK #02
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FINAL COLLECTION LOOK #03
FINAL COLLECTION LOOK #03
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SELF COGNIZANCE
DICHOTOMIES OF THE BODY
SELF COGNIZANCE DICHOTOMIES OF THE BODY
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The world consists of an unlimited number of objects and ideas, both physical and abstract. All things have been assigned a name through which they can be understood. These terms used to describe each item have a limitation on use, being that the names are non-transferable between languages. In order to comprehend what makes up the world as we know it, one must seek to explore the complex structure in which everything is intertwined. John Muir once noted that when we tug at a single thing in nature, we find that it is attached to the rest of the world. Everything exists in relation to everything else, and can therefore only be understand in context with the rest of the world. Our own selves are best understood in connection with other parts of the world. Mind to body, internal to external, self to other, and earth to heaven; each of these dichotomies give insight into the interpretation of one’s self and aid in the realization of who we are as human beings. One of the most complex relationships in nature exists between the mind and the body. It is the most innate dilemma that brings into question the control of our actions and the reason for our very being. There exists a link between our mind and our body that is creating a cause and effect reaction that ultimately defines who we are as human beings. Unity regards the mind and body as one entity, reliant on each other and existing only with one another. On the other hand, dualism recognizes a distinction between the mind and the body, with the possibly for separation of the two in the afterlife. Anthony Dardis states that “Dualism is the view that the soul, or the mind, is something non-physical, something crucially not part of the world that we see and touch.”1 One method used to understand the connection between the body and mind, whether in unity or duality, is the problem of mental causation. Mental causation explores the cause and
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effect relationship between the mind and the body, seeking to understand how the two influence each other. Dardis’ book seeks to explore this connection. “If the mind is something distinct from the body, then it is impossible to explain how you make anything happen. If the mind is the same thing as the body, then it’s not you that is making things happen, it’s your body.”2 This analysis proves that the body is in control of the mind, whether they exist together or separate. In either case, the body acts voluntarily as it wishes, with no regards to the mind. Of course the mind remains affected somehow by the choices and movements of the body, being that the two are necessarily linked, although not necessarily the same entity.
SELF COGNIZANCE DICHOTOMIES OF THE BODY
140
“My action doesn’t happen because I desire it. The action happens because it is produced by mechanical causes, namely, the mechanical operations of my biochemical parts. My conscious experience is no better than a self-deceived onlooker, generated by the machine but itself doing nothing.”3 In this statement, Dardis explains the mind’s control over the body. Given a desire, the body is not responding because it recognizes the craving, but instead the response is driven by the body’s physical capability of moving to obtain what it wants. It is almost as if the body knows better than the mind what it wants and is therefore going to reach out automatically to fulfill its desires without having to question itself. The mind transmits a subconscious message to the body, while simultaneously the body emits its perception of the surroundings to the mind to execute the required maneuver to accomplish the particular task at hand. The mind and body inevitably possess a powerful internal alliance in which they concurrently exert authority over one another, generating the potentiality for a being to exist in the world While the mind to body is a completely internal dichotomy, the second involves the internal and the external worlds of the body. The relation between the body and its surroundings begins to give us an under standing of how we fit into the world. The body uses its five senses, sight, smell, sound, taste, and touch to acquire information about the external world, which can be translated into a human response. Dardis declares that “Whenever we perceive anything, whenever we think or reason or change our mind, whenever we do anything – make something happen – mental causation is involved”4. This takes us back to the mind and body relationship, as the information the body obtains from its external sources affects the internal mind. The relationship of the mind to the body is what allows
for the mind to have a relationship to its surroundings. The body gives us a sense of space as it is positioned in the world and relates to everything else. “Physical objects – such as one’s own body – situate and define us; yet at the same time they are fundamentally indifferent to us,” according to Peter Schwenger.5 Having an external environment through which the mind and body can come to a realization of the self, aids in the understanding of our being through the context of the world. We know ourselves because we can relate to other people and objects that give us a sense of meaning. Jean-Paul Sartre has much experience in the studies of the self. He claims “The ego is neither formally nor materially in consciousness: it is outside, in the world. It is a being of the world, like the ego of another”6. Because our bodies connect the internal to the external, Sartre explains how we are all alike and are a part of each other because of the relationship between our surroundings and ourselves. The ideas and expectations that we have in our minds contrast to the objects and notions as they appear in the external world. The association between mind and world narrows the gap between the signifier, the real object in the world, and the signified, the conceptual idea in the mind. Linguistic entity encompasses both the signified and the signifier, whose correlation can be altered through a person’s insight into their surroundings. “The linguistic entity exists only through the association of the signifier with the signified. Whenever only one element is retained, the entity vanishes; instead of a concrete object we are faced with a mere abstraction” as explained by Ferdinand de Saussure.7 Through the juxtaposition created in the linguistic entity, objects and ideas rely upon one another to create a true existence. The dichotomy of signifier and signified, like that of the internal and external, provides a means to understand the self in the context of the world.
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SELF COGNIZANCE DICHOTOMIES OF THE BODY 142
Just as the internal and external relationship between the body and the environment provides the mind with an awareness of its being, the dichotomy between the self and the other expresses a comparable sense of identity. This association between our own person and the people around us furnishes the greatest backdrop from which we can learn the most about ourselves. There is much that one can come to know about oneself through simple internal reflection, but there are too many opportunities in doing so to lie to ourselves about who we truly are. Our identity is often skewed by the human desire to fit a certain idea of the self they choose to be. Humans want to feel accepted and liked, which can cause a person to stray from their true identity. People play up their positive qualities and try to ignore the negative ones so that they come closer to being their ideal self. This dilemma reverts once again to the matter of the body and the mind, with the mind in this case controlling how the body acts in the external environment and with other people. Sartre observes how “My existence in the midst of the world becomes the exact correlate of my transcendence-for-myself since my independence is absolutely safeguarded.”8 We compromise our values and ourtrue being for the sake of social acceptance, enabling ourselves to believe that we must project the image of our ideal self that we have in our mind onto our actual being. These subconscious thoughts are consciously played out in our actions towards others, fluctuating between the ideal and the real as we interact with those around us. “The reflective attitude is correctly expressed in this famous sentence by Rimbaud: ‘I is an other.’ The text proves that he simply meant that the spontaneity of consciousness could not emanate from the I.”9 Each interface between the self and the individual others varies according to the way that the self identifies who it is through the eyes of each particular other.
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144
In order to fulfill the ideal sense of self for each particular moment, the mind recognizes how it compares to the rest of the world using the value system projected from the other with whom it is currently communicating. Sartre adds, “if the I is a part of the consciousness, there would be two I’s: the I of the reflective consciousness and the I of the reflected consciousness.”10 Referring back to Rimbaud’s statement that the “I is an other,” we can infer that the cause of our altered actions in the presence of the other stems from the internal reflection of ourselves in their eyes, which we reflect back through the external self we promote. Through the other we gain insight into our own being, allowing us to compare and contrast who we are with who we think we are. Others’ perception of us influences the personal recognition of ourselves, where we can internally interpret or externally expresses our chosen identity to replicate the ideal self. After conquering the complications that arise from the convoluted sense of identity that is found through observation of the self’s juxtaposition to the other, the final dilemma arises from the differentiation between earth and heaven. For centuries, philosophers have debated the possibilities of a relationship between life and afterlife. Their research seeks to understand the correlation between the soul as it exists on earth and the soul as it potentially enters into heaven. Through life, a person experiences consciousness, but death modifies the way that the body can interact with the world in which it exists. The death of the body signifies a loss of connection to the physical world, but, although yet unknown entirely to any humans, the soul could still have the capacity to live on in an afterlife. Anthony Dardis also has insight into the earth and heaven relationship, saying that “Necessarily, the soul brings life to whatever
has it. And life is the opposite of death. So whatever has a soul necessarily excludes death and is hence deathless. Hence, Socrates concludes, when death approaches, only the body dies; the soul lives on.”11 The soul has a relationship with the body such as the mind has a relationship with the body. The two control and rely on each other to the same extent that the mental causation problem has an effect on the occurrences of the being. One’s sense of self stems from their conscious being, which is created by their soul as it housed within the framework of the body. It is through the body that the soul exists and creates an identity for a person. Without that body, the soul does not cease to exist, but it requires a shift of form to accommodate for the death of the body. Sartre remarks that “The transcendental I is the death of consciousness. Indeed, the existence of consciousness is an absolute because consciousness is consciousness of itself. This is to say that the type of existence of consciousness is to be consciousness of itself.”12 To be conscious requires the acknowledgment that one is physically present and capable of self-recognition. Existence is understood through this conscious awareness of the self as the soul manifests itself in the body and creates a sense of being. We can only know ourselves as conscious living beings, but we cannot ever experience death because through death we are no longer conscious being that can acknowledge our existence or lack thereof. Jacques Derrida suggests that “No relation to death can appear as such. If there is no ‘as’ to death [then the] relation to death is always mediated through an other. The ‘as’ of death always appears through an other’s death, for another.”13 Since we cannot physically experience death ourselves, we can only grasp the concept of death from having observed the other. Cary Wolfe claims that “since the same is true of the other in relation to its own death, what this means
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is that ‘death impossibilizes existence’, and does so ‘for’ both me and for the other – since death is no more for the other than it is for me.”14 Our existence constitutes both our life and our death as part of a cycle. Because we only know death through the other, and that other only knows death through the other, it becomes impossible for any being to understand what death is as a part of the cycle of life. Life and death are conflicting yet conjoining components of an eternal succession that exceeds the human ability to comprehend its greatness. Our earthly being transforms after death into a disparate entity in which we can no longer interpret the existence of ourselves in the context of the world.
Awareness of the self in the happenings of the world cannot simply be achieved through Descartes’ “I Think Therefore I Am� philosophy, but instead requires the self to be placed in context with everything else that exists. It is impossible to generate a sense of being without creating relationships among other entities. It is through a series of dichotomies that we can come to comprehend our own beings and begin to create a sense of identity through the interpretation of these connections. Mind to body, internal to external, self to other, and earth to heaven; the capacity for a human being to resolve the question of the self depends upon the capability of that human being to fathom the great interconnections of the world. There exist an unlimited sum of objects and ideas in the world, both physical and abstract, whose meaning remains at the mercy of their perception in a larger context. The essence of these things can only be understood when juxtaposed to another because the name of an object alone does not exhibit its functionality. Language can only express a limited range of implications before all interpretations become too perplexing. Therefore, it is through the cognizance of the perceived dichotomies of the world that we can begin to understand the complexities of the self.
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APPENDIX
APPENDIX
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BIBLIOGRAPHY BOOKS WEBSITES TEXT REFERENCES PHOTO CREDITS
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APPENDIX
BIBLIOGRAPHY: BOOKS
APPENDIX BIBLIOGRAPHY: BOOKS
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Beazley, Alison, and Terry Bond. Computer-aided Pattern Design and Product Development. Malden, MA: Blackwell Publishing, 2003. Black, Sandy, ed. Fashioning Fabrics: Contemporary Textiles in Fashion. London: Black Dog, 2006. Castle, Helen and Martin Pawley. “Fashion + Architecture.” Architectural Design 70.6 (Dec 2000) Bognor Regis, England: Wiley-Academy, 2000. Dardis, Anthony. Mental Causation: the Mind-body Problem. New York: Columbia UP, 2008. Davis, Marian L. Visual Design in Dress. Englewood Cliffs, NJ: Prentice-Hall, 1987. Derrida, Jacques, and Bernard Stiegler. Echographies of Television: Filmed Interviews. Cambridge, UK: Polity, 2002 De Saussure, Ferdinand, and Wade Baskin. Course in General Linguistics. New York: McGraw-Hill Book, 1966. Diller, Elizabeth, Ricardo Scofidio, and Georges Teyssot. Flesh: Architectural Probes. New York: Princeton Architectural, 1994. Hodge, Brooke, Patricia Mears, and Susan Sidlauskas. Skin and Bones: Parallel Practices in Fashion and Architecture. New York: Thames & Hudson, 2008. Koda, Harold. Extreme Beauty: the Body Transformed. New York: Metropolitan Museum of Art, 2008. McCall, Richard Powell. Physics of the Human Body. Baltimore, MD: Johns Hopkins UP, 2010. Mitchell, Louise. The Cutting Edge: Fashion from Japan. Aldershot: Lund Humphries, 2006.
Orta, Lucy, and Pierre Restany. Process of Transformation: Lucy Orta. Paris: Jean-Michel Place, 1998. Sartre, Jean-Paul. Being and Nothingness; an Essay on Phenomenological Ontology. New York: Philosophical Library, 1956 Sartre, Jean-Paul. The Transcendence of the Ego; an Existentialist Theory of Consciousness. New York: Noonday, 1957. Schmidt, Petra, and Nicola Stattmann. Un/folded: Paper in Design, Art, Architecture and Industry. Basel: Birkh채user, 2009. Schwenger, Peter. The Tears of Things: Melancholy and Physical Objects. Minneapolis: University of Minnesota, 2006. Seiper, Peter and Stefan Wagner, eds. Masters of Origami: The Art of Paperfolding. Ostfildern-Ruit: Hatje Cantz, 2005. Tsiaras, Alexander, and Barry Werth. The Architecture and Design of Man and Woman: the Marvel of the Human Body, Revealed. New York: Doubleday, 2004. Vyzoviti, Sophia. Supersurfaces: Folding as a Method of Generating Forms for Architecture, Products and Fashion. Corte Madera, CA: Gingko, 2006. Wolfe, Cary. What Is Posthumanism? Minneapolis: University of Minnesota, 2010.
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BIBLIOGRAPHY: WEBSITES
APPENDIX BIBLIOGRAPHY: WEBSITES
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“Digital T-shirt Project.” Fashioning Technology. 17 Nov 2008. 25 Oct 2010 .<http://fashioningtechnol ogy.ning.com/profiles/blogs/digital-tshirt-project>. “Discovery Health: How Muscles Work.” Discovery Health: Health Guides. 17 Nov. 2010. <http://health.howstuffworks.com/human-body/systems/ musculoskeletal/muscle.htm>. “Endocrine System.” KidsHealth. 17 Nov. 2010. <http://kidshealth.org/parent/general/body_basics/en docrine. html>. “Estate of André Kertész Presented by Stephen Bulger Gallery.” Stephen Bulger Gallery. 22 Sept. 2010. <http://www.bulgergallery.com/dynamic/fr_artwork_ display.asp?ArtworkID=3120> “How Robots Work.” Science:HowStuffWorks. 28 Oct 2010. <http://science.howstuffworks.com/robot2.htm “The Human Nervous System: Biology Online.” Life Science Reference: Biology Online. 17 Nov. 2010. <http://www.biology-online.org/8/1_nervous_system. htm>. “Laser
Garment Cutting: Cloth Cut & Hollow, Cutting Engraving & Hole Drilling, Engrave & Punch and Cloth Engrave Service Provider.” Hari Om Laser. 13 Nov 2010. <http://www.indiamart.com/hariomlaser/laser-garment- cutting.html>.
“More Information on Laser Cutting Fabric.” Laser Cut Fabric: Laser Cutting Fabrics and Textiles with Lasers at the Highest Quality. 2010. 13 Nov 2010. <http://lasercutfabric.com/index.php/more-in formation-on-laser-cutting-fabric#2>. “Origamic Textiles by Elena Salmistraro.” Pleat Farm. 25 Apr 2010. 13 Nov 2010. <http://www.pleatfarm.com/2010/04/25/origamic-tex tiles-elena-salmistraro/>. “The Skeletal System.” The Skeletal System. 17 Nov. 2010. <http://www.mnsu.edu/emuseum/biology/humanan atomy/skeletal/skeletalsystem.html>.
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TEXT REFERENCES
APPENDIX TEXT REFERENCES
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ISSUE: PATTERN MAKING 1/ Issey Miyake, Body Works, p. 89 ISSUE: TEXTILES 1/ Diller + Scofidio, Flesh 2/ Sandy Black, Fashioning 3/ Sandy Black, Fashioning 4/ Sandy Black, Fashioning 5/ Sandy Black, Fashioning
Fabrics Fabrics Fabrics Fabrics
ISSUE: FABRICATION 1/ Sophia Vyzovitia, Supersurfaces 2/ “Laser Garment Cutting” 3/ “More Information on Laser Cutting Fabric” 4/ “Laser Garment Cutting” SITE: THE BODY 1/ Christina Morozzi, Process of Transformation, p. 16 2/ “The Skeletal System” 3/ Helen Castle, The Architecture and Design of Man and Woman 4/ Helen Castle, The Architecture and Design of Man and Woman 5/ “Discovery Health: How Muscles Work” 6/ “Endocrine System” 7/ Richard Powell McCall, Physics of the Human Body 8/ Georges Teyssot, Flesh 9/ “How Robots Work” 10/ Marian Davis, Visual Design in Dress, p. 58 SITE: PROPORTIONS 1/ Harold Koda, Extreme 2/ Harold Koda, Extreme 3/ Harold Koda, Extreme 4/ Harold Koda, Extreme 5/ Harold Koda, Extreme 6/ Harold Koda, Extreme 7/ Harold Koda, Extreme 8/ Harold Koda, Extreme
Beauty, Beauty, Beauty, Beauty, Beauty, Beauty, Beauty, Beauty,
p. p. p. p. p. p. p. p.
20 26 53 63 72 84 109 130
PRECEDENT: BAD PRESS: DISSIDENT IRONING 1/ Diller + Scofidio, Flesh 2/ Diller + Scofidio, Flesh PRECEDENT: THE WIZARD OF JEANZ 1/ Hiroaki Ohya, The Cutting Edge, p. 79 SELF COGNIZANCE: DICHOTOMIES OF THE BODY 1/ Anthony Dardis, Mental Causation, p. 17 2/ Anthony Dardis, Mental Causation, p. 5 3/ Anthony Dardis, Mental Causation, p. 41 4/ Anthony Dardis, Mental Causation, p. 1 5/ Peter Schwenger, The Tears of Things 6/ Jean-Paul Sartre, The Transcendence of the Ego, p. 31 7/ Ferdinand de Saussure, Course in General Linguistics, p. 102 8/ Jean-Paul Sartre, Being and Nothingness, p. 345 9/ Jean-Paul Sartre, The Transcendence of the Ego, p. 97 10/ Jean-Paul Sartre, The Transcendence of the Ego, p. 52 11/ Anthony Dardis, Mental Causation, p. 16 12/ Jean-Paul Sartre, The Transcendence of the Ego, p. 40 13/ Jacques Derrida, Echographies of Television 14/ Cary Wolfe, What is Posthumanism? p. 84
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PHOTO CREDITS
APPENDIX PHOTO CREDITS
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ISSUE: PATTERN MAKING p. 017/ Folding Pattern, Folding Pattern, p. 018/ Folding Pattern, Folding Pattern, p. 019/ Folding Pattern, Folding Pattern,
Supersurfaces Supersurfaces Supersurfaces Supersurfaces Supersurfaces Supersurfaces
ISSUE: TEXTILES p. 021/ Mark Morden, Masters p. 023/ Jean Claude Correia, Mark Morden, Masters p. 024/ David Brill, Masters
of Origami Masters of Origami of Origami of Origami
ISSUE: FABRICATION p. 027/ Elena Salmistraro, “Origamic Textiles” p. 029/ Robert J. Lang, Un/Folded p. 030/ Masallah Designs, “Digital T-shirt Project” Masallah Designs, “Digital T-shirt Project” p. 031/ Masallah Designs, “Digital T-shirt Project” Masallah Designs, “Digital T-shirt Project” SITE: THE BODY p. 035/ Body, The Architecture and Design of Man and Woman p. 037/ Artery, The Architecture and Design of Man and Woman SITE: PROPORTIONS p. 042/ Junya Watanabe Fall 1998, Extreme Beauty Junya Watanabe Fall 2000, The Cutting Edge p. 043/ Rowan Mersh 2006, Fashioning Fabrics p. 044/ Comme des Garcons Spring 1997, Skin and Bones p. 045/ Shoulder Pads, Extreme Beauty p. 046/ Jean Paul Gaultier 1990, Extreme Beauty Jean Paul Gaultier 1990, Extreme Beauty p. 047/ Jean Paul Gaultier Spring 1999, Extreme Beauty p. 048/ Jean Paul Gaultier Fall 1984, Extreme Beauty p. 049/ Chest Pads, Extreme Beauty p. 050/ Sandra Backlund Spring 2007, Un/Folded Jean Paul Gaultier, Spring 2001, Extreme Beauty
(SITE: PROPORTIONS cont.) p. 051/ Masahiro Nakagawa Spring 2001, The Cutting Edge p. 052/ Junko Koshino Fall 1992, Extreme Beauty p. 053/ Hussein Chalayan Fall 1995, Extreme Beauty Alexander McQueen Fall 1999, Extreme Beauty p. 054/ Skirt Frames, Extreme Beauty p. 055/ Comme des Garcons Spring 1997, Extreme Beauty p. 056/ Yohji Yamamoto Fall 1986, Extreme Beauty p. 057/ Bustle Frames, Extreme Beauty PRECEDENTS: BAD PRESS: DISSIDENT IRONING p. 083/ Folded Dress Shirts, Flesh: Architectural Probes p. 084/ Folded Dress Shirts, Flesh: Architectural Probes p. 085/ Folded Dress Shirts, Flesh: Architectural Probes PRECEDENTS: THE p. 087/ Hioraki p. 088/ Hioraki p. 089/ Hioraki
WIZARD OF JEANZ Ohya Spring 2000, Un/Folded Ohya Spring 2000, Un/Folded Ohya Spring 2000, Un/Folded
PRECEDENTS: BURKA p. 091/ Burka, Skin and Bones p. 092/ Burka, Skin and Bones PRECEDENTS: DISTORTION p. 094/ Distortion #63, Distortion #06, p. 095/ Distortion #87, Distortion #40,
Paris Paris Paris Paris
1933, 1930, 1933, 1933,
“Estate “Estate “Estate “Estate
of of of of
André André André André
Kertész” Kertész” Kertész” Kertész”
SELF COGNIZANCE: DICHOTOMIES OF THE BODY p. 140/ René Descartes p. 144/ Ferdinand de Saussure, Course in General Linguistics
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