Album by Kayla Dantz

ALBUM

Inspiredbyarchivedfamilyphotosfromthe1970sthathighlighttheprominenceofplaidandgraphict-shirts,Idiscoveredthatusingmethodsof“inlay”canworktocreatenewtextiledynamicsand tensionwhichreestablishestheremembranceofmyancestorsandredefinesthoseclassicpatternsandwardrobestaplesfrom1970sAmerica.

graphict-shirtmanipulation

reconfiguringplaid foundinarchived photos

woven fabrication method#1: plaidintarsia

woven fabrication method#2: photoprinted andreconfigured

wovenfabrication method#3:painted cottonthreadrewoven togther

mood&silhouetteinspiration: relaxedandcomfortablefeeling ofthearchivedimages,‘90s music&fashionreferences

Margiela for Hermes fall 1998

Asleep at the Chateau by Jork Weismann

One to Nothing by Irina Rozovsky

establishingdetails: elastic,deepv-neck (alsoasintarsia), framingfabric, sourcingmaterials

Margiela for Hermes fall 1998

A. F. Vandevorst early 2000s

(digitized)woven fabrication method#1:plaid intarsia

wovenfabricationmethod#2:photo

printedandreconfigured

woven

fabrication method#3: paintedcotton threadrewoven togther

research& protoyping

Silhouette

Bothplaidandthephysicalmakeupofawovenfabricrepresentconnectionsandtransitions.Thisprojecthighlightsthesesemioticsatadeeperlevel,callingoutmydocumentedfamily relationshipsandquestioningthetransitionofgenerationsastheseimagesareinterpretedinmoresubtleandgraphicways.Throughresearchandmaterialityexploration,thisproject showcases“inlaying”theimagesthroughhand-wovenplaidsandotherhand-wovenrenderingsoftheoriginalphotographswithcarefulconsiderationoflocallysourced,andinsome cases,recycledmaterials. Althoughmanycolorsandfabricchoiceswereadirectresponsetotheclothesworninthearchivedimages,silhouetteoutcomeswereprimarilyaresultofthe relaxedmoodofthephotosaswellas‘90smusicandfashioninspirations,creatingamorecontemporaryfeelandhighlycomfortable,gender-neutralgarments.

Turn static files into dynamic content formats.

Create a flipbook

Album by Kayla Dantz

Published on Sep 25, 2024

The New School

Both plaid patterns and the physical makeup of a woven fabric represent connections and transitions. This project highlights these semiotics at a deeper level, calling out family relationships and exploring the transition of generations through subtle graphic interpretation of these images. Using research and investigation of materiality, I showcase images inlaid through handwoven plaids and other renderings of the original photographs, with careful consideration of locally sourced and, in some cases, recycled materials. I chose many of the colors and fabrics in response to the clothes worn in the archived images; the silhouettes were influenced by the relaxed mood of the photos as well as 1970s music and fashion, creating a contemporary feel and comfortable, gender-neutral garments.