A.C.
ÂżQuĂŠ What ha que e sus Historical
Traerthe el pasado al presente Bring past to the present
ĂŠ sucede con aquello appens to that which is estĂĄ suspendido en el spended in time? tiempo?
2Dto a 3D 2D 3D
Sobriedad y Sutileza Sobriety and subtlety
Tiempo Time Circular Loop
Detener el Tiempo To stop time
Yuxtaposition layers Superposiciรณn and y Capas
Movimiento Fluidez lo Estรกtico Movementyand flow vs. vs Stillness
Retratarthe la Essence Esencia Portray
Nostalgia
Volume illusion through lights and shadows Juego de relieve por luces y sombras
Hacer tangible lo is intangible Turn tangible what intangible
MelancolĂa Melancholy
PROCESS NOTEBOOK
Bauernmädchen
Bauernfamilie
The Perils of Keeping it Real
And no more shall we part
THEME: To fosilize a piece from the past and turn it into a piece of the present Elements researched
Girls’ fashion during the Victorian Era (1837 -1901)
Tipologies and Resources Skirts
Ruffles
Blouses
Width
Chemises
Pleating
Dresses
Layer yuxtaposition
Sweaters Lenght on the knees or ankles
We are particularly interested in the decades from 1840 to 1890
Antique laces and trims
Handcrafted
Merge with adults’ garments Use natural materials (Wool, cotton, leather)
Other reference images
Emphasize collars, cleavages and sleeves and bring them to the present
Victorian Cameos Sculpures as accesories
They become a part of the garment as well as the body
Bring frames and cameos into the garments.
Reference the furniture of that era
Incorporate the furniture that appears on the art pieces to the garments through silhouettes and volumes.
FIRST TEXTILE EXPLORATION
Too heavy
Lacks neatness
A decomposed material does not aid the piece on becoming a part of the present
Show the art pieces
NEW TEXTILE EXPLORATION APPROACH Emphasis on craftmanship
Source: My Knitting Book (1843) by Frances Lambert
Knit made from knit-patterns from 1843
Hand-made lace trims from antique knit-patterns
Desaturated color palette.
Lace samples made with Knittax (semi-industrial)
We chose Mohair wool, since it keeps its lightness while preserving the volume as well
We digitally vectorized antique lace for laser-cutting leather
Use of antique lace trim (family relic) as terminations PICKING UP THE USE OF RESINS ON THE ART PIECES We tried different types of resins and substances to generate different levels of shaping and stiffness on the fabrics EPOXY RESIN Completely stiff, breaks when bendt. Allows absolute rigidity
VITRIFICATION
Exploration of different levels of rigidity, light, shadows and transparency Same finishing as the epoxy resin, but allows certain movility and is lighter
3D VARNISH
KNIT HARDENING AND MOLDING NON TÓXIC VISCOUS=MORE MANAGEABLE EASY MANIPULATION ALLOWS REGULATION OF STIFFNESS LEVEL
PROTOTYPE
N
Samples and mini-sketchs that we sent each other, building this project from afar and enforcing social-distance.
Chemise as first layer Blouse/Apron that should be printed
Hand-knit ruffles embroidered on the sweater made with Knittax
Sleeve volume
(Skirt is missing)
To be made in layers of laser-cut leather with resin treatment
PHOTOGRAPHIC PRODUCTION Style references
Mood we want to evoke
Research of pertinent hair and make-up
SCOUTING OF LOCATION AND PROPS Interiors: Scouting of antique furniture and objects
Exteriors: Abandoned house, frozen in time
Antique details: balconies, pergola, wooden double-door