With Tailoring behind me, completed in second semester last year, I looked back on to my photographs and research. I came across this photograph. Back then I thought nowthing of it… The inside of a jacket… and!? Now, I look at it with a different view… I can see all the detail that has gone into producing this one piece. All the hand stitching, the fusing, the layers of canvas on the chest plate as well as the shoulder pads/roll. I am especially drawn to the colours and the proportion of the colours in the photograph which have lent themselves from the materials used.
Early in the semester, in another class, we were working to a different tune…
A recycled garment was to be used –a men’s tailored jacket. The brief was to create a new garment male or female from the existing piece. My garment was primarily focused on the lining of the jacket. The front panels with pockets, including a jet, were now placed towards the back, the sleeves were sewn into the side panels and the head of the sleeve cut straight and sewn together in order to create a pointed effect.
Once on the body, it was evident that there was not enough room for the wearers arms to move freely. I carefully cut into the matching pair of pants for the suit and added panels throughout the front and back to alleviate the stress on the garment. Remaining material from the men’s pant was used to create the bind which covered the newly made cape.
Early in the semester, there were two varying methods of construction in which I worked. In one class, we started with the base of a fitted jacket, including a notch lapel. From this starting point, panels of material were sewn in and cut out creating a unique silhouette and garment aesthetic. This method of construction was a freeing experience from the 2D pattern making. There was a sense of instant gratification of having made the slash and open on the stand and seeing the finished result almost immediately.
The photos connecting with this post, demonstrate the technique of slashing and opening on the stand, using the starting block of a fitted jacket.
With a background in Fine Arts, the New York based Margaux Lange is the creator behing this range of truly unique and, pardon the pun,handcrafted jewellery. The idea for her creations was conceived in 2001 as a result of her ‘Plastic Body’ series that was produced whilst working towards her Bachelor of Fine Arts degree from Maryland Institute of Art.
These art jewellery pieces that Margaux Lang produces are all hand made with materials and dolls sourced by Margeux herself. When questioned about her decision to make jewellery using Barbie limbs, Margeux reminisces over her childhood where barbie played an important role in her playtime, ”I immersed myself in on-going narratives where my fears, embarrassments, joys and explorations of human interactions could play out like characters on a stage”. Furthermore Lang discusses the appeal of taking a mass manufactured product and turning it into something handcrafted and unique. Additionally, Lang is also keen to point out the irony involved in her work through accessorizing the human body with other representations of the human body and in particularBarbie, who is accustomed to being accessorized herself.
Indeed this idea for barbie jewelry is rather effective on anaesthetic note, but one can also interpret the deeper meaning behind its creation. Coincidentally these pieces flow incredibly well with my own project as both bodies of work aim to explore a deeper meaning behind the creation ofthis famed doll with perfect proportions. Consider this as you look through these images of smooth sightly limbs, otherwise simply enjoy the hypnotic rhythm of it all!
Shirt + tailored jacket + Chair = ?
A collective of works made from shirting fabrics with the application of laser cutting and various tailoring techniques. The toiling being undertaken explores the different ways in which a shirt can be applied to the body. The use of both men’s and women’s shirts has been imperative as certain qualities of both function better with different orientation on the body.
I have chosen to build each initial basic shirt from flat patterns, as opposed to using recycled garments. Whilst it is a more time consuming process, it allows me to develop a better understanding of the basic construction of shirt elements, including the button tab, placket, collar and cuffs, as well as the various seam finishes that can be used.
Moving through the design process I have been able to simplify my designs and garment structures to form cleaner lines, an original aim, with reference to the architectural work of Ammar Eloueini. It has allowed me the chance to explore tailoring techniques and modernised construction techniques in unison with one another. I have brought bonding into my work in order to achieve raw, clean-cut finishes.
Running 1.46 miles through Manhattan’s West side, the High Line operated as a freight rail line from 1934 to 1980. Operating during the 1920‘s the original the rail line that snaked through this area of New York encountered so many traffic accidents along 10th Avenue it became known as Death Avenue. Hence in response, the High Line rail road was created.
The eventuating railroad was elevated above ground level and rather than traveling over buildings, it impaled right through. Aside from relieving the traffic hazards created by the original rail line, the other key point of reason behind the elevated rail road was to enhance the ease of delivery to warehouses and factories by literally taking delivery further than the doorstep.
During the 1950’s interstate trucking began to surpass freight trains as a means of transportation of goods, until finally in 1980 the last rain ran on the High Line. The eventuating history for this rail road becomes relevant to some the thinking behind deconstruction theory.
The primary advocates for the preservation of the rail road working within the group ‘Friends of the High Line’ spearheaded an initiative to create a public space from this historic landmark. Hence after years of planning, this railroad is in the process of becoming a 1.45 mile stretch of public park.
Through preservation of key aspects of the original rail road, the design for this park is a great contrast between the industrial and natural which is achieved without any unbecoming jarring of the two aesthetics. Hence the thinking behind the preservation and reconstruction of this New York land mark is something we can directly link to deconstruction thinking. Furthermore the consideration behind the preservation of the High Line through this evolutionary process is quite interesting. Rather than freezing the rail line in its original condition, this dynamic park design keeps its historic handprint intact whilst remaining relevant to modern day in the form of a public space.
More information at: http://www.thehighline.org/
Helmut Lang concentrates on the exhibition of the interior structure of a garment and methods of reversal and subtraction. His label was founded in 1986 through to his resignation in 2005. Lang concentrated on exposing shoulder padding of sleeveless shift dresses and shirts as an external feature in the Fall/Winter 1999/2000 collection.For the Spring/Summer 2003 collection, Lang’s designs for men’s and women’s sweaters and shirts were primitively stripped to theiradjacent foundation seams.Lang stripped a cardigan sweater to it’s frame, leaving only straps of knitted cotton at the neckline, shoulder, elbow, wrist, waistline, and along the placket of the centre front opening. This skeletal cardigan is the designers reductive reading of the traditional shape.(Haskins, 2010: p.106)
Lang frequently displayed garments as an aesthetic object as opposed to a garment which sheds function or purpose- this can be seen in a T-shirt he dissected for the Spring/Summer 2003 collection where he left only the neckline and raglan sleeve seam. Thus the garment transcends from its function to conceal or protect the wearer, but more so performs as a metaphorical gesture of the ‘T-shirt’. This type of method of reversal and subtraction is often seen in deconstructive fashion- if one was to categorize specific genres in fashion, so to speak. The resulting “decon-structures” convey an intentional focus on their own constitutive elements and the evidence of their creation or process as a means to reveal themselves as bare minimal objects.(Haskins, 2010: p.107)