// film - relive the experience

Look 2

// application of second embroidery sample / asymmetrical shirt 

Process and reflection on look 1 // asymmetrical shirt with embroidered sample 

Unlike my first sample where my drape informed the application of my embroidery sample, for this design the sample informed the garment. Once scanning up the deign and playing around with it on photoshop, I decided to use the sample as a toss repeat rather than a placement or oversized placement print. This then gave me a clear criteria for my drape which allowed me to be more creative with silhouette and shape. Once I began draping on the stand, I was easily able to start creating interesting and modern shapes. I really liked the idea of an asymmetrical shape where the print would be both subtle and simple. I also played around with sleeve shapes a lot and found the most effective shape being a structured cap sleeve. 

It was rather simple to decide where the printed panel would go as the surface would need to be relatively smooth to prevent bulk and puckering. This constraint led me to make an alteration to the shirt silhouette, by adding a dart along the diagonal from the armhole to the centre bust. 

In regards to the repeated toss print, I think it really successfully portrays the theme of physical maps  with an abstract aesthetic. 

Look 1

// application of first embroidery sample / jacket & dress

Process and reflection on look 1 // drawstring dress with jacket

Before draping shapes for my first look, I had a vague idea of the silhouette and texture I wanted to achieve. To compliment the loose and contemporary embroidery sample, I wanted to explore relaxed and oversized shapes.  I unconventionally draped the jacket before the dress. I played around with raised symmetrical hems to create interesting shapes as well as layering multiple lengths to create depth, a technique inspired by a garment I really admire. This process was relatively easy and came quite naturally. I found the most challenging aspect of the jacket the sleeves and creating the perfect armhole to allow for a clean silhouette without much bulk. Sewing the garment up was very simple and quick. After refitting the jacket on the mannequin I was able to make several adjustments, this included raising the center hem 5cm and creating a more acute line.

Having the jacket on the stand really allowed me to visualize a dress that would really compliment simple shape and modern texture. This led me to experiment with gathering and pleating. I used the method of sewing two straight stitch lines and pulling the lower threads to achieve even gathering. Then, sewing through the center of these two stitches to secure the gathers. After completing the front of the dress using this technique I encountered several problems. The first being; not having the fabric on the stand while gathering didn’t allow for the correct shapes to be made; although much care was taken in gathering the dress it was impossible to ensure both lines were even; having only one securing stitch through the gathers was not strong enough to hold the bulk and heaviness of the fabric. All these obstacles I encountered really allowed for me to think creatively for a solution. After much consideration I decided to experiment with drawstrings, as they would allow me to modify the shape of the dress easily and precisely. Additionally, the wearer could use this feature to alter the appearance of the dress to fit their individual shape. I found this technique extremely successful and am really pleased I moved away from stitched gathers.

To create the bodice of the dress component I draped a simple bodice onto the mannequin and used cotton tape to experiment with the curve of the hem. I wanted to follow the general shape of the jacket but also create a fitted appearance around the top of the bodice. After much difficulty in draping a fitted bodice with a comfortable hem, I decided to use an alternative technique. Using the patternmaking technique slash and spread, I was able to create an evenly dispersed hemline while not sacrificing the fitted shape of the shoulder and neckline shape.

The combining of the bodice and skirt of the dress was difficult using the drape technique on the stand, as the curve of the bodice hem was too acute. Again, I turned to basic patternmaking techniques to create the shape of the skirt top. This ensured a perfect fit and no excessive bulk. I followed the same technique when developing the back of the dress.

Upon completing the dress and combining both the dress and jacket on the stand, further adjustments were again made. The contrast of textures between the smooth jacket and the full dress were too stark. There needed to be a connecting element. This is when I began to experiment with cording/drawstrings on the jacket. After much experimentation, it was decided that the drawstring would follow the curved hem along the front, starting and ending 20cm from the extended side seam hem.

Throughout the development process of this look, I was always mindful of how my embroidery sample will be applied. After initially visualizing the embroidery as an all over texture, I began to experiment with a “placement print”. I settled on featuring the sample along the left shoulder of the jacket, and the cording hanging around the front and the back. These hanging cords would be tacked.

As a look, all the components compliment each other to achieve a deconstructionist modern aesthetic inspired by my mapping concept. My initial understanding of maps really progressed and developed while in India and while draping. Mapping extends beyond  communicating physical spaces and can be used to create new individual journeys. This look is a tactile and visual journey of colours, texture, shape and movement. The look itself is a map whereby the wearer of viewer is taken on a unique journey. 

Upon reflection, my successful combining of garment and textile has truly reflected the interconnectedness of my mapping concept. 

Reflection

Upon landing in Sydney with an unsettled tummy and eyes barely open, the end of my India experience really hit home (pun intended). 

I am extremely thankful for the opportunity to have traveled to India and to have been introduced to its magic. All aspects of the trip were inspiring. The sourcing, the people, the places and of course the food. Speaking of, click here for the best tasting Indian take away in the world (I strongly recommend the Paneer Tikka). 

Within the short two and a half weeks I learnt so so much. So instead of rambling on, I'll do a dot point summary:

1. Sequins are amazing. As are beads.
2. Don't buy sequins or beads from lindcraft or spotlight ever again. 
3. Think about how much fabric you need before you buy.
4. Silk is always better than polyester. 
5. Always consider different hues of thread colours to achieve depth.
6. Use the correct thread colour with corresponding sequin/bead.
7. There are more thread techniques than people you know.
8. Using all of the techniques in one design isn't always good idea.
9. Think about the mood you are trying to convey before selecting techniques. 
10. Always consider time constraints during manufacturing to produce a design that is industry viable.
11. Planning isn't always essential. Having a clear mind is better than a clear design plan!
12. Experimentation is the key to a fully developed design.
13. Listen to advice openly, but always make your own decisions. 
14. When ordering takeaway- always order cheese naan, never plain naan.
15. Chai tea is your new favourite beverage.
16. Long needle is extremely hard to do.
17. Be appreciative of your privileged life, and take every opportunity you can to help those who need it. 

Day 13

After being swamped with so many ideas for my second embroidery design, I decided to go crazy and do all of the colours and not be restricted by a pattern. So I took to photoshop once again and did a quick scribble.

Upon showing Rajat my quick sketch, he suggested a technique that may be suited to the loose style. He requested that the artisan show me, and he produced the sample below. 

Now having kind of clear idea of what I want to do, I tried to figure out a rough colour palette. 

Despite my colour palette hardly representing a colour palette, it really helped me to experiment with gradation and to select the hues of each colour. Once I finalised this, I was ready to stretch my fabric on the loom! Unlike all my other designs, I decided to use a silk organza to create a more delicate aesthetic. I also intended to create the illusion of depth using the fabrics transparency as a foundation, the thick thread work as the first layer and the loose thread work above as a second layer. 

I found it especially difficult to communicate that all the thread work needed to be loose, sparse and uneven. Despite drawing the design onto the organza, I had only intended this drawing to be a rough guide rather than a shape that needed to be filled. It was only after Rajat returned that he was able to successfully communicate to the artisan my design intention. Despite this obstacle, my design really benefited from the artisans interpretation as his technique really brought another element to the table, or should I say loom. I had intended for the short needle to be used, but the artisan assured me with gentle head bops that the long needle would be neater and quicker. He was right!

As the artwork slowly came together, the need for a different material became more  and more obvious. I really didn't want to detract from the intricate thread work so I settled on  lifting the piece with matte seed beads. I worked closely with my artisan, experimenting with short/long needle and different techniques, to finally settle on technique shown below. It is a simple single threaded loose stitch using the short needle. This means that the bead is free to move about the yarn. This further creates another layer to the depth of the artwork. This same technique was repeated using white seed beads along the white thread work. 

Once all the thread work was complete, it still appeared incomplete. There was too much of a contrast between the vibrancy of the thread work and the simplicity of the white organza. So I experimented with this really, twisted irregular yarn one of the other students had purchased in Old Delhi. I played with angles and balance but it was still looking really forced. So I thought the simplest way to get a natural looking hanging effect would be to tilt the loom vertically and pin the thread onto the fabric. After much guidance from the other students I was finally happy with the placement of the threads. These threads were then sewn into place using a white nylon thread. 

Overall, I am really happy with the outcome of this design. I think it was the most enjoyable to produce as my artisan and I were collaborating and exploring all the way through, rather planning the design to a T. 

Day 10

Rajat suggested I use the indigo dye sample that failed, as an element rather than a textile. I then took to the loom and started to experiment. This way of working without a pattern is very different to how we worked last week with Ashok. Despite really enjoying last week, I much prefer working with materials and designing this way, rather than planning all elements prior to starting. 

I was really inspired by the manipulated fabric and very easily developed the design from this. To create an organic dropping shape with the loose yarns, the loom was tilted upright, and the yarns were pinned. These loose yarns were then couched using a single thread. This was quite difficult to explain to my artisan as he didn't really understand the yarns were meant to create the illusion that the indigo element were decaying. The seed beads were then added to develop another texture.

In terms of design development, my design took a radical turn from my initial design plan. I have tried to keep a super open mind to allow for my ideas to grow and progress without any hesitation. So I am going for it with this design, and really allowing for complete experimentation and zero planning! wohooo. 

Day 9: Contemporary begins

After a fantastic traditional week with Ashok, I am super excited for a week of contemporary designing. Donna suggested that we may use the same designs from first week and apply different techniques to achieve a completely different aesthetic. Although I do like this idea, I would much prefer to maybe explore more abstract silhouettes. 

To begin this weeks designing, we were given the opportunity to dye some of our fabrics. Having never dyed fabric before, I was so excited. Following Maddy's notes from a textile elective last semester as a guide, I was able to do a couple different samples to be dyed. 

Using the above techniques I wanted to achieve a textile with a linear pattern. Inspired by topographic maps, I wanted to then create a multiple layered abstract pattern using thread work that would suggest landforms, as shown below. 

Shown below is a reference to what my dyed fabric will hopefully turn out like! 

Although this above sample must have been created using more conventional shibori techniques (wrapping around pole), due to a lack of resources I needed to be much more creative. So I went in search for potential materials around the house. Donna suggested bobby pins to be used as a clamp. I created 5 samples just in case they didn't turn out as accepted. Under the impression my samples would return slightly resembling the above reference, I again turned to photoshop to experiment. 

Just incase my tie dye experiments don't turn out, I purchased a beautiful silk scarf that mimics this rippled effect. Again I trialled this design on photoshop. 

When our dyed samples returned, any samples with materials except for thread were not dyed. This meant that I only had 2 samples that were dyed. Neither proved to be a success.  I think this may have been because I did not tie the samples tight enough, as well as the fabric being quite a heavy-weight. Despite the failure, Rajat suggested to still try to use and experiment with the indigo sample.