Dress Project Documentation Creative Technical Studio Tina Ma https://portfolio.newschool.edu/tinama/
Narrative (Written Description)
I saw the Dress Project for Creative Technical Studio as an opportunity to push my artistic limits as a fashion design student. When given the prompt stating that we must create a dress with the inspiration of a Cubism-related art piece, I was immediately drawn into contemplating how I could clearly represent the relationship between art and fashion through a garment. Having had painting been my introduction to the world of visual arts and design when as a child, I immediately decided to incorporate my inherent skills as well as newly developed knowledge of fashion construction into one dress. A challenge I have personally set for myself involves the extended incorporation of the pathway set by Parsons School of Design, Materiality. Personally, fabrics and materials are factors that most inspire my designs. Therefore, I wanted to contribute as much as I can into the materials that make up my dress in terms of texture, color and component. In the slides to follow, the exact "components" of my dress will be discussed in order to help you further understand my intent.
Inspiration (Research and Exploration) This project was inspired by the painting, "Sailor at Breakfast" by Diego Rivera in 1914. The painting is humorous in its nature. It presents a Cubist depiction of quite literally, a sailor at breakfast. The composition of this painting involves multiple shapes, both circular and angular. The colors incorporated in this painting are those of a reduced palette, for instance, the use of black, beige, brown and maroon. However, there are pops of color involved such as red and blue which is extremely interesting. The painting as a whole is humorous and embodies a strong sense of character in the way that it is painted and composed. Interestingly, there is speculation about Diego Rivera perhaps being inspired by Picasso's "Student with a Newspaper" in 1913 in terms of the subject matter. This is fascinating because although the two have very similar elements involved in the main subject, they are painted in such different attitudes and mood. I am particularly drawn to the "personality" of Rivera's "Sailor at Breakfast".
Other paintings I had considered include "The Kiss" by Natalia Goncharova, "Untitled" by Alexander Archipenko, "Woman with a Book" and "Woman with a Mandolin" by Pablo Picasso. After finalizing on "Sailor at Breakfast" by Diego Rivera, I've produced multiple sketches that constantly evolved until the end of the construction. The sketches and brainstorm in the following slides are presented in accordance with this project's development.
"Sailor at Breakfast" by Diego Rivera 1914
"Student with a Newspaper" by Pablo Picasso 1913
Brainstorm
I decided to construct a dress based on the painting, “Sailor at breakfast� by Diego Rivera as I personally find it more humorous and I would have more literal elements to incorporate into the dress.
Revised Sketch
Revised Float
Revised float determining the finalized details of the dress The revised float is a simplified version of the previous sketches as there are a lot of elements in and I did not want this garment to feel as though it was clustered.
Literal references of the painting that is going to be incorporated in the dress
“Sailor at Breakfast� by Diego Rivera
Materials Total Cost: 148 USD
Composition: 98% Wool 2% Polyester Price: $20 per yard Width: 60 Source: Mood
Composition: 100% Silk Price: $12 per yard Width: 58 Source: Mood
Items: Closed end exposed zippers in brown and navy blue Price: 6 Source: Sil Thread
Material: Embroidery Needles and Thread Price: $12.97 Source: Amazon
Material: Tricot Price: $7 Source: Sil Thread
Item: Acrylic Paint Price: Pre-owned Source: Blick Material: Merino Wool in red and black Price: $15 per 4 oz Amount: 12 oz Source: Amazon
Materials: Treatments
Needle felted merino wool with experimental design
Wet and needle felted merino wool
Fabric paint on woven wool
Acrylic paint on woven wool with “Patire” embroidery”
Fabric paint seems to be more like a dye rather than opaque paint. Mistakes with darker colors is difficult to move and colors don’t blend well to create the gradient effect.
The colors of the fabric paint does achieve the desired effect and the paint is thick enough to cover mistakes. However, it does leave the fabric crinkly. Next step: Attempt to iron treatment.
Blue silk inserts on woven wool
Takeaways Needle felting provides a very sturdy fabric with intricate designs. However, it is very time consuming, especially to create 1 yard of fabric. It is still doable.
Wet and needle felted merino wool is extremely strong, however, hopefully I can make it more smooth by trying it out with an iron.
Fabric behaves well. However, I need better control over the rolled hem foot in order to maintain the same measurements.
Process: Muslin Drape + Pattern I began draping by grasping the basic concepts of pattern making and draping and created darts and determined the cutouts based on my sketch. My initial idea was to have the skirt cut out into different sections. I transferred the patterns onto a pattern paper to ensure that the newly determined lines are blended so I could drape onto the dress form again with more accuracy.
FIRST DRAPE
FIRST PATTERN
Process: Muslin Drape + Pattern After the first drape, I realized that there wasn’t any ease and although the dress is asymmetrical, aspects of the dress such as the neckline, armhole and darts do not match with the reciprocating elements of the other side. Therefore, I decided to drape off of a size 6 sloper that involved a lot of ease.
SECOND DRAPE
SECOND PATTERN
Process: Muslin Drape I wasn’t satisfied with the ease in the last drape and decided to tighten dress. This is the same muslin as the last drape with adjustment to the side seams of both the bodice and skirt, back and front cutouts of the bodice, neckline, and arm holes. I’ve also added a sleeve full length sleeve folded to imagine the scale of the sleeve on the dress.
THIRD DRAPE
Process: Final Muslin Drape + Pattern These are the final drape and pattern for the dress. After a discussion with my professor, we have decided to eliminate the two darts that is in the front skirt, eliminate the two seams on the back bodice, complete the sleeve and collar drape, and finally split the front bodice into three by eliminating the darts and make them into seems.
FINAL DRAPE
FINAL PATTERN
Process: Self and Interfacing Cutouts
The images on the left and bottom indicate the exterior of the dress including the collars, front bodice panels, back bodice panels, back skirt panels, front skirt and sleeve. The images on the right include one of the lining of the left and right back bodice, and one of the fused facings of the collars, front bodice bottom cut out, upper sleeve, front skirt waist and front skirt bottom.
Process: Last Minute Additions and Future Changes While constructing my bodice, I realized I needed more facings on the armhole (front and back bodice).
After presenting the garment in class on October 20th, photographs must be taken in order to add this piece into my portfolio. My model’s size is ● B: 31.5 in ● W: 22.5 in ● H: 37 in ● Bicep: 10 in Therefore after Tuesday, Further adjustments must be made.
Process: Pinned Up (Partially Sewing) I’ve decided to sew the seams of the front bodice and darts of the skirt before proceeding to painting so that I can grasp a better sense of how I should paint. I’ve also altered the side front bodice panels as well as a little bit of the back bodice panels as they did not fit well and I might have made a mistake while pattern making. My next steps are to paint, attach the facings and linings, felt, attach the felt, attach the blue silk (as seen in treatment), embroidery and attach the whole garment together. I also should transfer the pattern of the front side bodice
Process: Painting
Process: Felting + Constructing the Rose
I began by laying out merino wool in perpendicular directions between each layer. I needle felted the merino wool through a felting machine. I then washed both the black and red merino wool in hot water to strengthen the felt. The felt doesn’t fray and is quite bulky so I’m thinking to top stitch it onto my skirt fabric.
Process: Bodice Construction
Attachment of the back bodice lining, armhole facings for both front and back bodice, collar attachment.
Next steps: ● Shorten sleeve paper pattern (Adjust circumference to 11 in → model measurements) ● Make sure back skirt matches back of bodice. Make adjustments if needed. ● Join side seams of bodice ● Complete ruching of silk organza on skirt ● Complete inserts of felt (red panels and black half circles) ● Top stitch zipper onto back bodice top panel (fold zipper ⅛ inward from the edge) ● Attach center area of back skirt onto back bodice ● Attach zipper onto back skirt (fold zipper ⅛ inward from the edge) ● Attach side seams of skirt ● Finish waist seam (do not iron seam allowance open, iron it up) ● Complete black felt sleeve and facing ● Complete red felt rose on shoulder and tact it down ● Embroid “Patrie” on collars and tact collars down ● Embroider two fish with plates on skirt. ● If there is enough time, paint if needed ● Prepare process book ● Check patterns and redo cutter’s must
Process: Attachment of back skirt, zipper, collar, felt panels
Final: Garment Constructed (Front, Back, Sides)
Final Photographs