‘The Unbearable Lightness of Being’ by Milan Kundera “Tereza tried to see herself through her body. That is why, from girlhood on, she would stand before the mirror so often.” “It was not vanity that
drew her to the mirror; it was amazement at seeing her own ‘I’. he forgot she was looking at the instrument panel of her body mechanisms; she thought she saw
“Looking at herself, she wondered what she would be like if her nose grew a millimetre a day. How long would it take before her face began to look like someone else’s? And if various parts of her body began to grow and shrink and Tereza no longer looked like herself, would she still be Tereza?” “Now we can better understand the meaning
her soul shining though the features on her face.”
of Tereza’s secret vice, her long looks and frequent glances in the mirror. It was a battle with her mother. It was a longing to be a body unlike other bodies to find that the surface of her face reflected the crew of the soul charging up from below.” “The naked women marching around the swimming pool, the corpses in the hearse rejoicing in the she, too, was dead - there were the ‘down below’ she had feared and fled once before but which had mysteriously beckoned her.” “Then what was the relationship between
Tereza and her body? Had her body the right to call itself Tereza? And if not, then what did the name refer to? Merely something incorporeal, intangible?” “Tereza stood bewitched before the mirror, staring at her body as if it were alien to her, alien yet assigned to her and none else.” “She had sent her body out into the world, and refused to take any responsibility for it.” “For what
made the soul so excited was that the body was acting against its
“This was not the most ordinary of bodies (as the soul had regarded it until then); this was the most extraordinary body. The soul could not tear its eyes away from the body’s birthmark, the round brown blemish above its hairy triangle. It looked upon that mark as its seal, a holy seal it had imprinted on the body, and now a stranger’s penis was moving blasphemously close to it.” “Tereza’s dream reveals the true function of kitsch: kitsch is a folding will; the body was betraying it, the soul was looking on.”
screen set up to curtain off death.” “She desired her own body, newly
discovered, intimate and alien beyond all others, incomparably exciting.”
PANTONE 19-4205 TPX Phantom
PANTONE 11-0103 TPX Egret
PANTONE 13-000 TPX Moonbeam
The Body Kitsch Death Sexuality
PANTONE 16-3850 TPX Silver Sconce
PANTONE 16-1340 TPX Brandied Melon
PANTONE 18-1561 TPX Orange.com
Lightness & Weight
Traces – series of 18 paintings on canvas. Mixed sizes, mixed media.
These paintings have as their aim the intangible duration of one act of intercourse. Rather than selecting one moment during sex, whose visualisation is usually pretty awful, I attempted to imagine time spread through this event from arousal up to orgasm and ejaculation. This necessitates a non-literal approach and required instead a move toward partial abstraction. There is no single dominating focal point and there is no physical suggestion of perspective. The colours are different shades of skin-tones and they merge and spill into one another seamlessly, splashing and mixing like waves in the same way two lovers entwined twist and rotate and join together physically. If you look for detail you will find it. The surface of the canvas is textured and this reminds us of the contours and traces of bodies – the small areas of dried paint are a physical hint and a tactile reminder of surface and of our sense of touch. During sex our senses are elevated and this plays on this aptly. Similarly, further examination reveals a small gash in the top half of the painting. It is subtle but jagged and rough and imperfect. The process of painting needed to echo the act itself. Physical, rough and smooth simultaneously, loving, nuanced and organic the paint mixed in ways uncontrolled and random. - James Ramsay 2012
“This was not the most ordinary of bodies (as the soul had regarded it until then); this was the most extraordinary body. The soul could not tear its eyes away from the body’s birthmark, the round brown blemish above its hairy triangle. It looked upon that mark as its seal, a holy seal it had imprinted on the body, and now a stranger’s penis was moving blasphemously close to it.”
Initial print samples to explore techniques that best represent the look of the painting. A free hand approach was taken with watered down fabric paint that meant the colours blended together naturally.
Realisation of print against James Ramsay painting in colours more representative of real painting.
Photographs taken of own body viewed through a magnifined glass. The goal was to visualise how our perceptions of our own bodies can be warped when look so closely at it.
“Looking at herself, she wondered what she would be like if her nose grew a millimetre a day. How long would it take before her face began to look like someone else’s? And if various parts of her body began to grow and shrink and Tereza no longer looked like herself, would she still be Tereza?”
Interpretations of the warped lines of the body created by the magnifined glass that are then used in different combinations and placed on the body to inform garment style lines
Another interpretation of the distorted body photographs that interprets the shapes in 3D. Initially tried in foam to get an idea of how this would look. The foam works well but has a dense feel to it that does not reflect the concept or brand outlook, so the next experimentation was to create this shape sheer fabric which allows for the natural shape to show whilst still re-interpreting the natural silhouette
“Tereza’s dream reveals the true function of kitsch: kitsch is a folding screen set up to curtain off death.”
Own images taken at the Ossuary (bone church) in Kutna Hora, Prague. A tangible interpretation of ideas of death and kitsch, the church is made up of exhumed skeletons that are decoratively place inside to create beautiful yet morbid sculptures.
Literal interpretations of the sculptures that are then used as decorative trims on the garments, placed between the seams, possibly with fabric placed over them.
Development of the bone strapping idea. Experimentation using different sizes of brass wire to see which will be strong enough to be used in a garment as well as soft enough to bend into shape. The shapes used echo the brand logo for a subtle element of branding.
Developments of the placement of the strapping to create an interesting and different aesthetic
A kitsch interpretation of the piles of bones and skulls piled decoratively has been explored through echoing the shapes created in fresh water pearls. Pearls were chosen due to the colours available that compliment the tones in the print. White turquoise was also looked into as it seemed to suit, however it was decided it has too much of the look of bones and felt too literal. Various techniques of beading were explored including trapping them under sheer fabric, however this did not have a very couture feel. So a more simplistic approach of beading was taken, with the desire to create one showpiece in the collection.
Repetitive lines created by one of the sculptures inspired the idea to use quilting. Further experimentation led to a sample that traces all the lines of the sculpture to create a unique quilting sample, well suited as a couture design element. Opposite Placement and scale experimentation of the image on different garments
Initial ideas of the exploration into the body and death design concepts have then been brought together to be realised as the core design direction. The idea of creating new silhouettes is supported technically by combining it with the idea of using a bone trim which is then used as the structural element. Opposite Initial design exploration of the combined concept by sketching into stand work that helps visualise the idea as a three-dimensional product
Construction realisation of design concept. Bones will be individually pinned through the garment and then supported by a boned channel at the top of the overlayer. Fabric is then draped to achieve the desired shape.
Further development of silhouettes to achieve a cohesive look and story throughout the collection
Inial line up selected from developments with final adjustments made to achieve the cohesive look. Colour placement was then roughly developed, where it emerged that the collection will look much stronger in a more limited colour palette so was deiced to focus on black, beige and the print.
Toile development starting with a basic body that will act as the base garment for most of the pieces designed.
One-way stretch basic body developed from two-way stretch swimsuit block Added some extra to neckline and armholes of swimsuit block before constructing. Block was for a 2-way stretch fabric so was very short in the body (only just went on the stand) so need to about 10cm into the length and was also a little tight in general so need to add a little in the width too. Would be helpful to add some more to the legline, armholes and neckline to cut down into shape.
2nd Adaptations • Adjust legline shape as taped onto toile. • Adjust armhole as taped onto toile. • Adjust neckline as taped onto toile. • Take out a little at CB seam as pinned into toile to avoid lose fabric over the bum.
Cut along taped lines and lay over pattern to get a rough line, then neaten up to shape using a pattern master.
3rd Adaptations • Raise neckline according to tape position on the stand. • Adjust armhole shape as taped onto the toile. • Take more out at dart as pinned into toile and bring dart further towards the bust point. • Take out about 1cm at side seam under the armhole. • Take out a little from the CB seam to shape better over the bum.
Final toile of basic body fits well, needs a final adjustment underarm - take out about 1cm. This can then be used as a block to adapt dsigns from as well as act as a guide for all sillhouette lines.
Toile created in real fabric to check if it acts in the same way as toiling fabric. 4th Adaptations • Slash and spread dart created at bum, ensure to check that line across bum will match. • Adjust guest to make seam further towards the front to allow for popper tape (or alternative) then make guest a separate piece. • Raise underarm by 2cm. • Drop shoulder seam by 5mm at front and 1cm at back. • Bring out shoulder seam by 1cm towards arm and bring in shoulder seam by 1cm at neck. • *Check shape of armhole. • Lower neckline at CF by 1cm
High waisted developed from the basic body block Taped the style lines onto the basic body then transferred this onto a flat pattern.
2nd Adaptations • Take 1cm out from the waist (down approx 6-7cm). • At across back seam take out about 1cm from centre out to approx 6cm each way (as pinned on toile). • Take out back seam line.
3rd Adaptations • Take out 1cm at both side seams (ease in to around 6cm down). • Lower waistline slightly at CB and CF.
4th Adaptations • *Check gusset shape. • Take out 1cm at both side seams. • Take out about 5mm at centre of across back seam and ease in. • Bring waistline down by 2cm.
Body with non-stretch top sections and stretch lower part adapted from basic body. Silhouette lines taped onto basic body with non-stretch section draped over the top to ensure silhouette consistency.
2nd Adaptations • Take 5mm at side seams on top non-stretch section. • Adjust line where non-stretch and stretch section meet at original dart position. • *Drape non-stretch back section on stand - make symmetrical as how it currently is does not look asymmetrical enough to notice. • *Add balance notches
3rd Adaptations • Adapt across bust line as taped • Adapt back arm hole shape as taped • Take out 1cm at side seam of foam section • Check pattern and match side seam lengths
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Overlay calico to create non-stretch back section
Patterns did not work so took an alternative approach to pattern cutting process. This time making the foam top and overlaying the basic body and pinning in place. This was the transferred onto paper and created a more accurate pattern.
Overlayer • Adjust base pattern to help even out leg • Take out 5mm each side at CB seam • Straighten out CB seam (more to left 1.5cm) • Check gusset size • * Make in stretch fabric
Using the lower section of the knickers previously made, fabric was draped onto the stand to create the desired shape. This was tried in a couple of different ways, including trying it as bias cut, but on the straight grain was deemed the most desirable. Neckline was precut according to the top of the body made previously to ensure continuity throughout the range.
1st Adaptations • Adjust bust dart to a more horizontal angle like normal
Pattern created straight from the style lines drawn onto the basic body
Card bones placed onto base toile with fabric draped in place to later be adapted into a paper pattern
Pattern adapted using the previous knicker shape with the style lines from the previous body.
1st Adaptations • Take out 1cm at side seam • Lower CB by 1.5 towards side
3rd Adaptations • Straighten out wing (raise about 4cm at back) • Adjust pattern to include new style lines
Plunge bra developed from Triumph Inspiration Award long-line plunge bra 1st Adaptations • Increase neckline • Adjust wing - take out 5mm from side to allow for whole wing to be made in stretch 2nd Adaptations • Staighten out wing • Square off neckline • Shape bottom of CF bridge • Reduce depth of CF bridge by 5mm • Take out about 10mm at side of cup
4th Adaptations • Bag out cup instead of french seam • Bring CF cups down 5mm on both sides to reduce wire play • Make left cup across bust seam line match to CF bridge • Add 5mm to CB of wing
7th Adaptations • Change grain line on top cup • Take out 5mm at side seam
* Left cup sewn inside out! 5th Adaptations • Trim across bust seam to 5mm • Trim neckline seam by 1-2mm on inside cup to allow for roll over (toiled with all seams made smaller, which doesn’t work) • Bag out neckline seam • Check wire against pattern - to much wire play by about 5mm each end 6th Adaptiations • Make bridge a little narrower (by about 5mm) • Ease across cup curve a little, lower bust point maybe? • Reduce sharpness of curve at underarm • Cut top cup to grain goes straight up towards strap • Try cutting back wing on bias?
Final fitting on other stand as bust shape suits a plunge bra better. Straps added by eye.
Pattern works as it is with bottom cup in foam
Black
Silk Georgette
Stretch Silk Georgette
3mm Cotton Coated Foam
Black
Silk Georgette
Stretch Silk Georgette
3mm Cotton Coated Foam
Black
Silk Georgette
Moonbeam
Stretch Silk Georgette
Black
Silk Georgette
Moonbeam
Stretch Silk Georgette
Moonbeam
Silk Georgette
Black
Stretch Silk Georgette
Moonbeam
Silk Georgette
Black
Stretch Silk Georgette
Silk Georgette
Stretch Silk Georgette
Silk Georgette
Stretch Silk Georgette
Moonbeam
Silk Georgette
Stretch Silk Georgette
3mm Cotton Coated Foam
Moonbeam
Silk Georgette
Stretch Silk Georgette