// 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.