N ATA S H A FAG G natashaelizabeth@live.com.au 0430 466 221
p. zoe economides m. maddy @ viviens mua. andres micich h. karlose p
Arthropoda My research is focused upon a comparative body of work which explores adornment through two opposing elements, the engineered versus the crafted. I have developed a series of prototypes which compare embellishment through the facility of technology (in particular 3D printing) and the artisan (hand embroidery). The driving force behind my research is charged by an initiatory reference to insects viewed under the microscope. Their reference has been abstracted through digital function and these hyper magnified surfaces provide inspiration for volume, silhouette, design lines and structure. Microscopic explorations of growth. The natural informs the synthetic. This research lead me to investigate complex processes for digital surface manipulation. I have undertaken extensive self-directed research to expand upon my current knowledge of 3D development software. The notion of hyper magnification lead me to investigate three dimensional fractal forms through the amalgamation of various algorithms. According to The Concise Oxford Dictionary of Mathematics:
Fractal noun A set of points whose fractal dimension is not an integer or, loosely, any set of similar complexity. Fractals are typically sets with infinitely complex structure and usually possess some measure of self-similarity, whereby any part of the set contains within it a scaled-down version of the whole set.
In order to extract these generated fractal forms from the program a voxelstack needs to be created, essentially a voxelstack is a series of splices of the form. I worked alongside technical engineer Chris Murray, whereby we are used his highly specialized medical image processing software, Mimic’s by Materialise, to collate the voxelstack into a usable mesh object. This software was developed to generate 3D models from CT or MRI scan data, the structure of which is very similar to that of the voxelstack. This mesh object was then able to be manipulated into the desired shape within a data preparation software. 3D scanning allowed me to scan a mannequin into this software, providing the facility to work upon the same form both digitally and physically. The acquirement of knowledge within this unfamiliar realm formed a condition of my self implicated contract for the year, I am wanted to develop the technical understanding and comprehension of these programs in order to be the designer and producer of these pieces. The opposing facet to this digital exploration is an investigation into the art of tambour beading, specifically sourced from India, whereby the traditional craft is passed down through generations. This year I have been lucky enough to spend two weeks exploring India and its amazing industry of beading and embroidery. Prior to the trip I widely researched the viability of production through India and sourced various companies, fabric stores and wholesale markets to visit. This trip has not only exposed me to their amazing capability but has forced me to work and communicate in an industry based manner. The intent of my collection is to present an aspirational body of work that explores adornment through avant-garde applications of the investigated processes. The realization of a body of work which is not dictated by commercial viability, yet remains wearable, a free exploration of possibility. This would then provide the foundation for me to design a ready to wear collection that would embrace elements of the work within a commercial framework.
p. elvina mae s. ellen purtill h. moet @ rok ebony mua. shella ruby martin m. jena @ giants
p. roxanne hartridge m. rebecca @ scene mua. ellen mugavin
3D Rapid Prototype
3D Rapid Prototype I was introduced to 3D rapid prototyping at the start of 2011 through the initiatory elective ‘digital fashion’. This course, offered through RMIT, introduced me to the 3D modelling program Rhino. I developed the necessary skills to design upon an avatar of a size 8 model which I 3D scanned, granting me the ability to produce stand alone pieces as well as items customised to the body. The terra-flat function of the program has also enabled me to design garments digitally upon the avatar and unfold these garments to create flat patterns. I was approached by Amelia Agosta in regards to producing two supporting items for her graduating collection. Piece one was designed by Amelia and took the form of two neck pieces which wrapped around the shoulders, attaching to the garment. After this piece was successfully printed Amelia invited me to use my knowledge of the program to design the second piece. With the knowledge of her collection I wanted to design a visually striking piece which would deliver a bold statement. Amelia was happy with my design and through consultation I was able to produce the file using my 3D avatar and Rhino knowledge.
p. advan matthew m. mia @ darley management mu. phill darley s. yasmin cadby j. alexandra blak
Ricki-Lee Fear & Freedom album cover.
Cable tie outfit within the hero campaing of Melbourne Spring Fashion Festival 2012
Instinctual Beast
This body of work has been a tactile investigation, intent on exploring the materiality of heaviness and the notion of beastly fabrications. The purpose of this investigation has been to explore non-traditional materials and processes for taming these materials in order for them to relate to the body. The platform of lingerie has been chosen to demonstrate these acquired processes due to its natural affiliation with light fabrications, producing a collection which challenges the notion of conventional material usage. Plastic, leather, latex, metal, hair, silk, cotton and fringing have been combined and an aesthetic of synchronized contrast has been formed, creating conversation between the fabric and non-fabric materials. The function of combining these materials has produced patternmaking techniques, enhancing the distinct characteristics of the fabrications. A highly considered approach has been taken with reference to the lingerie pattern construction. Extending upon my existing knowledge base I was able to develop new ways of creating the necessary cradle structure through an instinctual response to the leather. Traditional and prescribed techniques were ignored within the construction of these garments, allowing me to respond free of presumption. This method of exploration has in turn tamed my manner of production; the process has developed from a simple construction system to that which requires a crafted hand. Vacuum forming has been investigated as a method of taming rigid and noncompliant plastics. The plastic is heated to a malleable state and then sucked over a mould, once cooled the result is a hard shell formed over the desired shape. The process of creating these forms has also exposed me to the highly involved method of mould casting and I have learnt techniques for working with wood, plasticine, clay, and plaster.
These casting techniques have also allowed me to explore the notion of captured motion. Fascinated by the interaction between the body and a two way pleated fabric I wanted to capture the moment of expansion, the intriguing conversation between these two elements. This process involved casting this expanded moment in plaster to form a mould and then creating this structure using liquid latex. Presented alongside one another these garments demonstrate vastly different interactions between body and fabrication, stemming from the same form. Representing and exploring the taboo of hair has become an apparent theme throughout this study due to its connotation to a beastly human facet. Society frames ‘unwanted’ hair in a negative fashion and I have sought to represent this in a lighthearted, comical manner. Hair, or its representation spills from behind an encasing of plastic, positioned exclusively in inappropriate places. The hair is also used as a surface texture, displayed beneath a plastic exterior to remove the sensation of touch. Leather has been embellished in the repetitive use of heavy fastenings, creating harnesses and garments which isolate the bodies function, investigating the manipulation of the human form and the consequential ramifications upon mobility. Through a muted colour palette the beastly nature of the heavy fabrications has been visually subdued, reflecting a taming process which does not rely upon the hand to be effective. Through process exploration I have been able to produce a reciprocal relationship between myself and the fabrication. I have tamed the beast and the beast has tamed me.
p. tiffany chin m. amy s @ scene d. natasha fagg mu. kat bardsley h. maria gullace @ rakis a. alyssia tedeschi a. naomi fagg
Topographic Exuberance The initiation of this interrogation developed through the reading; ‘White walls, designer dresses : the fashioning of modern architecture’ whereby Wigley (2001) suggests that structure is but the scaffolding for which decoration disguises. This theory provoked me to question the relationship of structure and decoration. Could these two elements become interchangeable? Could the decoration provide the structure? The decorated surface progresses through a transition into a surface of ornament through the function of form manipulation. An accessory to the body, the ornament acts as a vehicle for manipulating and dictating both static and malleable form. This progression is realized through the acknowledgement of variance between the descriptions of decoration and ornament. To investigate the determined subject matter a series of surface investigations were conducted. Specific definition has been assigned to a series of words; these words determine the parameters of constraint at which all experimentation must abide. Grotesque, picturesque, carnivalesque and sublime. The word grotesque has been defined as the turning of the inside out. A discussion upon the relationship the inside has to the outside, with particular reference to the human body. This stimuli has been used as a visual reference for all exploration, mimicking and referencing naturally occurring formations and structures beneath the skin’s surface, with prominence placed upon the musculoskeletal system. The musculoskeletal system is an organ system that gives animals (including humans) the ability to move. The system provides form, support, stability and movement to the body. The system consists of the skeleton, muscles, cartilage, tendons, ligaments, joints and connective tissue that supports and binds tissues and organs together. This reference has been used to instruct the aesthetic of the ornament and instigate the formation and positioning of design lines.
p. tiffany chin
m. jade matthews
d. natasha fagg
Culture Magazine Two garments from my Topographic Exuberance collection were selected by Kirsty McBeth for an editorial shoot featured in the August/Spetembe 2011, Culture magazine.
p. amber toms a. amanda fordyce & karla majnaric h. brett albury & julia mcgrath @ suki haidressing mu. sue marshall s. kirsty mcbeth a. daniella sorace m. jane smith @ viviens & paris @ camerons
Melbourne International Flower and Garden Show
1st Place RMIT Student Floral Fashion Design Competition This body of work has been an investigation into the grotesque manipulation of the human form and its’ surface. Interpreting the avenue of grotesque as a mode of transition from what is classically conventional to that of a morphed recognition. The figure has been transformed, yet remains familiar. Juxtaposed to this form is a composition of sublime exuberance, a picturesque palette of vibrancy. Vegetation has been considered based upon surface texture, colour and stature, ignoring preconceived concepts of traditionally considered picturesque flora.
De-Reconstruction An exploration of traditional technique and the boundaries which have been imposed upon the term tailoring as a repercussion of such tradition. What constitutes a tailored jacket? Technically, does it refer to specific elements which are considered vital to the integrity of the jacket? The collar and lapel, break point, shoulder pads, internal structures, set in sleeve, lining, jett and welt pockets. If these elements determine the jacket, at what point does their removal impact the jackets classification of being a tailored garment? Perhaps the classification of a tailored garment can be found within the craft of the manufacturing processes or possibly this refers to an overall aesthetic achieved? My body of work has been intent on exploring the possibilities of these traditional techniques, rather than composing definitive answers to these subjective questions. A series of controlled experiments were conducted, using the process of particular construction techniques as a constant and allowing their context to be the explored variable. The result of these experiments proved to be an interesting springboard for design initiation and I discovered that this technically tactile process of exploration resinates well with my design process. I found that I could take the product of these experiments and explore ways in which they could be reworked into garment form though draping. A corresponding aesthetic began to emerge from the experiments, one of contrast and juxtaposition. This has formed the basis for my collection;
An exploration of various compositions involving structure and drape. Inspiration is derived from traditional tailoring construction processes and interrogates the appropriateness of varying fabric weights and textures when combined.
Psyche of Phalanges In anatomy, phalanx bones (phalanges) are those that form the fingers and toes. Identifiable to touch, the name phalanges represents a sensuality synonymous waith lingerie. The collection is an interpretation of the manner in which bones and muscles interact to create functionality and movement within the human body. Bone has been translated literally thrvough jewellery and provides comment upon the high level at which consumerism has forced fashion to become disposable. The jewellery is hand made from the recycling of discarded animal bones, which are cleaned and bleached. Muscle has been interpreted through organic design lines. Sheer transparent fabrics are layered to depict the varying components of the body and their vitality to form function. When these elements are placed together the observer is able to capture the holistic vision of phalanges.
p. tiffany chin
m. leah johnsen @ scene
d. natasha fagg
mu. kat bardsley