T-shirt project

 

 

 

Aside | Posted on by | Leave a comment

Michelle Tan Xue Yi (second hand garment design)

Deconstruction: Second hand garment(Pants)

Michelle Tan Xue Yi’s work (London College of Fashion)

Uploader: Emily

References: http://showtime.arts.ac.uk/MichelleTan

Posted in Uncategorized | Leave a comment

Deconstruction Fashion ~ anti-Fashion

(Emily)

In the late 1960s, “deconstructionism” was the brainchild of French philosopher Jacques Derrida who named the process of breaking down established forms. The term is normally applied to text but also describes breaking down conventions and normal boundaries. His idea was to contradict, challenge and destabilise the universal truth.

His work is also largely referred as explicit influence in architecture (in the form of deconstructivism), music and arts, with many artists and art critics, continually referring explicitly his influence on their work

His work is also largely referred as explicit influence in architecture (in the form of deconstructivism), music and arts, with many artists and art critics, continually referring explicitly his influence on their work

So, what is deconstruction fashion? It’s a fashion item that looks unfinished and the designer is still in the midst of experimenting with the product. Normally, the fashion item has exposed seams, raw edges, displacement of certain component and some sort of treatment to make it look distressed. Deconstruction fashion is meant to challenge the traditional perception of beauty.

At the same time, it aims to destabilise fashion with impeccable garment finishing.

In “Deconstruction Fashion: The Making of Unfinished, Decomposing and Re-Assembled Clothes,” Alison Gill uses the idea of decontruction borrowed from Jacques Derrida philosophy.

Gill suggests the fashion style of deconstruction, called “Le Destroy,” by the French, is an intentional effort at unfinished forms that are coming apart, recycled or transparent. Rei Kawakubo, Karl Lagerfeld, Martin Margiela, Ann Demeulemeester and Dries Van Noten are the designers in this category. The basis of all decontructioned clothing is aestheticized non-functionality that amounts to anti-fashion.

In philosophy, deconstruction reveals the instability of meaning of words and phrases. The deconstuction of style was first observed in communication design in the Cranbrook Acadmey. A 1988 exhibition at MOMA about deconstructivist architecture brought the term into larger consciousness. Gill suggests that Martin Margiela is an example of deconstruction architecture of the body. His clothing is composed of parts of other clothes, linings, zippers or fixtures from many places with transparent assembly. “Margiela literally brings the secrets to the surface.”

Deconstruction is also a living critique of the fashion system. Decontructivist designers reveal fashion’s charms – ornament, glamour, spectacle, illusion, fantasy, and exclusion. Importantly however, the designer is not just not destoying. It is instead a simultaneous “forming and deforming, constructing and destroying, making and undoing clothes.” The design and anti-design are equally essential.

Yohji Yamamoto

Margiela S 2007 and Margiela jacket made of a Swiss Army bag 2006

viktor rolf spring2010

veliani jacket

Japan Fashion Now 2003

More information at:http://ezradaniel.me/2012/04/05/deconstruction-fashion-anti-fashion/

Posted in Uncategorized | Leave a comment

laser cut lace

Print development and some dress development. It was inspired by my theme: Gene transformation.

– Jemmy Sham

Posted in Uncategorized | Leave a comment

Ruptured

The idea of beauty often denotes images of balance, symmetry and perfection.  Modern science and society also tells us ratio and mathematical exactness is a beautiful aesthetic to adhere to.

For my project I want to explore the curiosities that remain in us when we look at something imperfect, awkward and subtly ‘not quite right’.  By looking at Japanese pottery, the wabi-sabi aesthetic in particular.  An aesthetic that Yohji Yamamoto has always worked towards, where murkiness, balance, harmony, and imperfection does not necessarily mean symmetry.  I want to create a collection where certain curiosities are stirred as to what is finished, and what isn’t.  By incorporating the Kimono, I will be careful not to venture into orientalism, but delve into subtle connoctations of tailoring by bringing across hand sewing techniques and finishes with traditional Japanese geometric shapes to create drape and fluidity.

By the end of this I hope to present A shell of a jacket, a jacket that is not quite a lining and a draped dress made from rudimentary non representational pattern pieces inspired by the Kimono.

Cindy Co

 

Posted in Uncategorized | Tagged | Leave a comment

Printing Process

Embroidery machine. The group of angles on the fabric take up to an hour to embroider.

 

Exposing the film onto the screen. It took About 10 minutes under halogen lights.

 

Setting up the screen on a bench which sat in a hinge clamp. I spray adhesive on the table so that the fabric would sit securely and not lift when we lifted the screen. Before you print onto the fabric with the squeegee you must flood the screen so that it prints evenly. Registration and levelness was the biggest problem. The screen was heavy and large so it had to be printed in sections. I had to trial a number of fabrics to see how the paint sat on the service of the fabric and how it interacted with worsted and woolen wool. The fuzzier the service the less likely the print was going to sit on the service with an accurate print. I had to buy a thicker paint so that it wouldn't get obsorbed into the wool.Trying to define the shape of the garment by incorporating pleating and folds and designs lines. I want to keep as minimal seams as possible.

 

Washing down the screen to wash away any excess glue so that the design is outlined on the mesh.Toiling with printed wool fabric on the stand. I was trying to work with the fabric and the print to build a relationship between the gathering and folds and the direction the print. Hoping to great an illusion.Defining the experimental toiling and fitting them on the body.Looking at the print from all angles and it's direction.Back view. Incorporating the pleats which formed folds and gathering. Looking at the shape and volume it forms inconjunction with the print and the illusion it creates through the use of line and two dimensional shapes on a the dimensional structure.That one Strip of lines take an hour to embroider.