week thirteen: how to lace your corset...

(above video http://www.youtube.com/watch?v=p6IRi_MWENs, viewed 1/6/10)

week twelve: persistent circles...

The reoccurring concept of 'the circle' has been subconsciously appearing in the form of my work. Whether it be subtle or overtly clear its simple outline has become a part of my design aesthetic through experimentation. Initiated during our legging deformation through the addition of a spherical three-dimensional structure such as a rubber bouncy ball created my awareness for its potential dominance. Its smooth, effortless profile lends itself to the world stretch, with its clinging, contouring aesthetic. As I had previously set myself the challenge to abandon my natural instinct of the asymmetrical kind, the figure of a equally proportioned circle has guided me towards balanced perfect within a garment.

A circle is a simple shape of euclidean geometry, consisting of those points in a plane which are equidistant from a given point called the centre. The common distance of the points of a circle from its centre is called its radius. Circles are simple closed curves, which provide the plane into two regions, an interior and an exterior. In everyday use, the term "circle" may be used interchangeably to refer to either the boundary of the figure or the whole figure including its interior.

(above image http://studentweb.cortland.edu/louge32/miniproj2/step3_circle.gif, viewed 6/6/10)

week twelve: 'piecing it together'...

Placing and securing shaped fabrication is something that I have never attempted before. Much like a puzzle, it involves accumulating and joining piece together to produce an image. The process has required me to mold and drape with the help of the mannequins silhouette to acquire an indication of how the final outcome will sit on the body. Inspired by the work of designers like Junya Watanabe who exhibit points of tension within a garment that create fluid distinct drape.

Junya Watanabe Fall 2008 Ready-To Wear

Jasmine Di Milo Fall 2010 Ready-To-Wear

Once I had carefully formed my shell-like structure, section by section, the difficulty began attaching it to the cropped singlet base. As this light fabric under became the support for the organised cluster of 'chopped' hosiery it had to be secured using the most accurate technique. My chosen design aesthetic of obvious, contrasting construction seams had to be considered for specific areas of the singlet. Different fabric thickness or bulk from the flat lock was stitched using the zigzag machine to conceal it into position. Prior to that I had trialed and tested a variety of finishes and colour combinations for the high stretch net, which accompany the nylon tights. As the specific colour of the beige tights was extremely hard to match, to avoid a chaos of several tones that never quite harmonize, I chose to safely work with black to tie in the apparent construction seams. This defines the collection of shapes, highlighting them as they ripple down the body creating bulk in their precise arrangement. The thread ends that extend beyond the neckline and armholes gather together to emphasise my raw aesthetic, as they freely travel with the garments natural drape.

week eleven: pantyhose...

My fascination with the association between women's hosiery, specifically tights, and stretch generics has finally been resolved. It was through the study of their construction and behavior that the dispersion of their original form occurred. I wanted to focus on that continuos observation I have made on the comparison of the reaction of a particular garment on the body, to it in its natural state. The impression of a reduced, almost shrunk item has been trapped in my head as the characterization of stretch and its performance.

Inspired by the application of geometric shapes to the body, introduced to us during the generic investigation, I chose to continue with the experimentation of drape in circular shapes. I was drawn to the unpredictability and natural manner of them once assembled around a specific shape. Following my theme and focus of the female silhouette, my intention was to highlight upper body features by creating a cropped singlet that created the allusion of a collar and/or sleeves. After experimenting with basic shapes on the stand it was apparent that I was 'building' and emphasizing the likely form.

As the sheer, 15 denier nylon construction of the tights that I purchased was so delicate I was challenged to think of original construction methods that nullified any obstructions. The use of the flat lock machine was in order, forming that relationship between my previous works. Through the use of contrasting black thread the details of seam construction is conspicuous, stressing every ripple and plunge within the fabric.

The intended function of the 'control' region of the tights opening presented a subtle contrast in fabrication. These differences are evident within the tone, as well as fabric thickness, therefore providing an alternative response in the larger performance of the garment. This contrast must also be considered in terms of aesthetic application, and the way it can affect or influence the general expression of the piece. With the help of relevant research I rejected the tradition to cover delicate areas of the body with opaques, and reversed notions of acceptably exposed skin.

(above image http://en.wikipedia.org/wiki/File:Pile_of_pantyhose.jpg , viewed 30/5/10)

week ten: sculpting...

Cami James (RMIT 4th Year 2009 final collection, Oyster magazine)

This specific body piece is minimal yet forceful in impact. The detail confined to the molded torso grabs your attention through its light reflecting properties, highlighting its polished finish. It creates a new form for the body, accentuating its original form by extending out to a new degree.

It underlines the concept of the 'hard body', much like Issey Miyake's molded plastic bustier, 1980, as it imitates the body yet displays a hard powerful shell on the wearer. It explains the relationship between the body's form and the garment directly in contact with it. Reversing the idea that clothing clads or conceals the body, this piece replicates the body, exposing it like a second skin compiled of plastic. This bustier created by Cami is dramatic with its reflective surface and sinuous curves can also be appreciated as a sculpture with its own form and function.

I am drawn to this concept, intrigued by its potential response to stretch fabrication, and wish to possible it explore it in the remaining weeks of the project. The consideration of depth and dimension is all part of construction preparation and process in context to both corsetry and stretch fabrics, therefore I aim to illustrate the parallels between the two.

(above images from http://www.nodiscount.com.au/blog/page/4/ viewed 17/4/10)

week ten: corsetry...

A corset is a garment worn to mold and shape the torso into a desired shape for aesthetic or medical purposes. In recent years, the term "corset" has also been borrowed by the fashion industry to refer to tops which, to varying degrees mimic the look of traditional corsets without actually acting as one. While these modern corsets and corset top often feature lacing and/or boning and generally mimic a historical style of corsets, they have very little if any effect on the shape of the wearer's body.

The most common and well-known use of corsets is to slim the body and make it conform to a fashionable silhouette. For women this most frequently emphasizes a curvy figure, by reducing the waist, and thereby exaggerating the bust and hips. A shorter kind of corset, which covers the waist area (from low on the ribs to just above the hips), is called a waist cincher. A waist cincher (sometimes referred to as a Waspie) is a belt worn around the waist to make the wearer's waist physically smaller, to create the illusion of being smaller.

A corset has the influence to command the awareness of those around. It highlights the centre, the core of the skeletons frame. It protects the cluster of importance within the body, becoming a supportive armor. The chosen shape of a corset determines its power over the body. It most classically creates the hourglass figure desired by females, accentuating aspects of the form as to better shape. It ultimately crafts a smooth, reduced waistline which contours are rounded off to the hips.

(Above images www.iainclaridge.co.uk/. ../babyphat_dm.jpg, viewed 8/5/10)

week nine: dolls...

A study of the basic physical aspects of the female body was essential in order to comprehend its full influence on the way that I design. Focus is placed upon definite components that construct and shape a defined silhouette. This absolute profile of the female figure discloses a sense of command, suggestiveness and splendor, all in the one frame.

The Female body shape is the cumulative product of a woman's skeletal structure (build) and the quantity and distribution of muscle and fat on the body. There are, and have been, wide differences on what should be considered an ideal or preferred body shape, both for attractiveness and for health reasons. These have varied among cultures and at different times. As with most physical traits, there is a wide range of normality of female body shapes.

Human beings and their cultures have perennially focused attention on the female body as a source of aesthetic pleasure, sexual attraction, fertility, and reproduction. The female body occurs in a range of shapes. The female figure is typically narrower at the waist than at the bust and hips, and usually has one of four basic shapes: banana, pear, apple or hourglass. The bust, waist, and hips are called inflection points, and the ratios of their circumferences define these basic shapes. Usually, the bust area will depend on the person's weight and height.

Alteration of the body shape

Various strategies are sometimes employed to temporarily or permanently alter the shape of a body. At times artificial devices are used or surgery is employed. Breast size can be artificially increased or decreased. Breast Prostheses or padded Bras may be used to increase the apparent size of a woman's breasts, while minimiser bras may be used to reduce the apparent size.

Historically, the greatest efforts have been made to reduce a woman's waist line. Boned corsets were used for several centuries, but during the twentieth century these were mostly replaced with more flexible foundation garments. Where corsets are used for waist reduction, it may be temporary reduction by occasional use or permanent reduction by people who are often referred to as tightlacers. Liposuction is the common surgical method of reducing the waist size.

Padded control briefs or hip and buttock padding may be used to increase the apparent size of hips and buttocks. Buttock augmentation surgery may be used to increase the size of hips and buttocks and to make them more rounded.

Women simply aspire to amplify and intensify their natural physic to craft the ideal body. I intend to simply emphasis its form by honoring its imperative fundamentals. This will be carried out through the arrangement of colour and fabrication to mold and highlight features.

week seven: neo...

Neoprene or Polychloroprene is a family of synthetic rubber that are produced polymerization of chloroprene. Neoprene is an oil and water resistant material that was designed as a alternative to natural rubber. This stretchy rubbery material is encased in nylon that offers incredible flexibility, support, warmth and insulation. Neoprene is primarily used for wetsuits, but has also found its way into many types of active wear and other everyday item, reflecting its utilitarian style.

Working with neoprene is a entirely new 'stretch' experience. It's thick and solid structure makes for a temperamental sewing experience, as seams slip under the machine foot with the slightest movement. Neoprene fabrics has two facets not only physically but metaphorically. Its dense composition provides both intense stretch and control on the form, as well as volume and structure from its firm handle.

week six: image development

This image that I used in my project presentation summarizes my generic investigation findings in the way that it captures a moment of movement where the garment is responding. It shows the extension and length that the nylon spandex has reach simply by force or energy. The power that the body has to form unique and unusual shapes when confined by a fabric will always manifests a novel silhouette. Here the model progresses inside the structure of the swimsuit, as she tries to cover or even hide herself within it, intensifying its prime form. The distinct points of pressure that her fingers have create are highlighted by the contrast of black and white extremities within the photo. My approach was to strip all colour and tone in order to simplify this image to present it in its rawest form, exposing the effortlessness of this particular stretch fabric and its initial reaction to the body.

Not only was the presentation of the five images which best portrayed my generic investigation beneficial for me, but I enjoyed taking in the design concepts and course of others. For each person to voice their individual hypothesis on the hub of 'stretch generics' and therefore generic garments was personally a motivating moment. The disparity in the theory of each students was absorbing along with their chosen visual aid which validated and exhibited those notions that they were articulating.

week five: swimmers...

A swimsuit, bathing suit, togs or swimming costume is an item of clothing that is tight-fitted and designed to be worn while participating in water sports of leisure activities. For women, the swimsuit is either a two-piece top and bottom ensemble or a one-piece maillot style. The first swimsuits concealed most of the body, women wore bloomers, black stockings, and a dress with short sleeves or shirt. Today women's 'bathers' are generally bikinis, one-piece variations or thongs, with the intension to reveal as much as the body as possible without actual nudity.

The concept of developing my own design approach for experimentation with the swim suit seemed challenging. I was drawn to follow up on my recently explored performance enhancing fabrics, as I found that this could become a strong approach for this weeks exercise. Unlike regular swimsuits, which are designed mainly for the physical appearances, competitive swimwear is manufactured for the purpose of aiding athletes, increasing their efficiency . Parallel to this is the utilization of wetsuits produced from foamed neoprene that insulate the wearer and provide them with buoyancy in the sometimes harsh sea conditions.

With all this in mind I had the idea to incorporate neoprene into my design, but not as proficiently as it is intended for. The type of design I want to form may not be wearable for water purposes or even practical. This 'Avant-Garde' approach is something that I want to explore in the next project, especially as I will be carrying out the construction of the experimental swimsuit from week 7 onwards. It will assist me in launching into a new design direction as the foundation can be extended further than one weeks work, giving me strong support to initiate more toile's from.

Russh Magazine Issue 32- Swimwear Shoot (January. February 2010)

This album of images featured in this Russh photo shoot merges athleticism and femininity together to form a powerful compilation of swim and sports wear that has inspired me to

After speaking to my friend grace in 3rd year about my project direction, she guided me to a designer called Lisa Marie Fernandez. Once I had viewed her recent collection it was evident that it related to my design direction, with its blocked colours and of course fabrication. As a designer reference she follows the same fundamentals that I am wanting to attain in the way she uses an innovative fabric that is made to perform, molding the body's form whether creating curves or supporting them.

'The collection takes its cues from the bold, colour-blocked suits of the eighties but the look is totally modern. with their chunky zips and taut silhouette, there's a strong sexiness to them thats bonafide Bond girl. But the clean design of the various styles subtly adapted to each wearer's individual aesthetic, from the sunbather to surfer. LMF bikinis can be directional, sporty, sophisticated and glamorous. The modular collection has various colours and styles that are made to endlessly coordinate.'

(above image http://www.lisamariefernandez.com/main.html viewed 2/4/10)

week four: beautify me...

To decorate is to make something more attractive by adding ornament, embellishment, adornment or even colour. Decoration is something intended to increase beauty or distinction within a specific object or space. The act of decorating is something that may involve the addition of flounces, frill, ribbon, trimming, bows, puffs and other forms of texture. In other words the process of attaching decoration can be described as 'garnishing,' especially in relation to fashion items thats base shape has already been established.

Fashion in the 18th Century in European and European-influenced countries reached heights of fantasy and abundant ornamentation, especially among the aristocracy of France. Specifically the Rococo period dating from 1715-1774, which was marked stylistically by the same convoluted detail and elaborate decoration, which characterized the Baroque period immediately preceding it. Rococo style was highly dominated by classical feminine taste and influences. This Fashion century proves as an ideal reference in my attempt to expose the subject matter of decoration. Producing such influential characters as Marie Antoinette, who in many ways has been inspiration for designers and artists in the creation of new and contemporary work for century's.

During my findings I stumbling across a book out of my collection named 'Style Deficit Disorder' which is devoted to Harajuku street fashion in Tokyo. It highlights the neighborhoods dizzy combination of street-level fashion, outre couture, and re-mixed, fashion-forward youth culture which has made it an international style capital. Within this the specific, but popular style of the Baby and Lolita movement was revealed to me as a significant influence in my approach to this decorative task. These styles were influenced by designer Isao Kaneko and his romantic Victorian-meets-Little house on the Prairie style outfits that could only be described as lovely, pink and ruffled. This clothing found a silhouette that was a playful and abundant contrast to the form-fitted, sleek aesthetic that was popular at the time. This particular Harajuku style is not afraid to deliver that over-the-top element that was required for this weeks design task, therefore stimulating me to resolve my toile with the same approach.

My decorated Nana is simple in terms of construction, but very laboring when it came to the creation and placement of the frills. The frilling is positioned in rows over the entire back pattern piece and create a bustle-like flounce of fabric.To highlight the use of multiple layering, I used a sheer nylon (fairy floss) net to generate a subtle variation in tone as well as incorporate a 'fresh' texture in the design. The choice to not go down the path of predictability and produce this garment using girly, feminine, powder pink fabric came from the theory to remain sophisticated and even mysterious through the use of a dark and moody fabric. The Nylon Lycra I used embraces a certain level of intensity which I wanted to achieve, not only through its high stretch qualities, but its lustrous and sleek surface, which reflects with every shift in movement. Experimenting with such high tenacity fabrications has allowed me to further explore the concept of the body conscious garment and its power to control and mold the body, especially being that the brief sits so intimately to the bodies figure, having a stronger influence. The combination of the front design lines and the thick off white elastic that frames the briefs outline engages a masculine side in the way that it evokes a traditional men's Y front underwear. This observation only came after the completion of the garment, as its symmetry and shape almost mocks or imitates the simplicity of conventional underwear with its excessive and impractical adornment.

(above images http://www.dirjournal.com/info/wp-content/uploads/2009/05/1.jpg, rubypr.com/.../2008/ 11/fruits-umbrella.jpg viewed 3/4/10)

week four: briefly...

Before it became a necessity in everyday life, underwear used to have a specific function: body contortion. This simply means that it is used to make a woman’s body more attractive by tucking in the waist and enabling her to straighten her back. With time various fabrics such as satin, lace, cotton, and silk were introduced. Women desired these styles because it looks sexier and feels more comfortable. While underwear might be a necessity today, there’s no doubt that certain styles are sexier than others. Thus, there are many categories of underwear based on its width at the side, height, and amount of rear coverage. The most popular style today is the Brief. It provides full coverage to the rear. A classic brief will have sides extending above the hip. Other subcategory of the brief includes boy leg (inspired by men’s underwear) and control panties (alluding to a slimmer appearance). Briefs also rise to just below the navel and have a tight-fitted feel.

The Nana Pant

Our task this week was to 'Decorate or Integrate' the generic 'nana' brief. This inevitable meant the over ornamentation of manipulated fabrics and enhancing techniques. I decided to focus on decorating rather than integrating, as I have had little practice of such embellishing methods. 'The Art of Manipulating Fabric' was introduced to us during the class workshop with Liam. My initial impression of the brief was for it to be sleek and smooth to sit closely to the body, hidden underneath clothing and minimizing bulk. When faced with the challenge to excessively enhance the generic brief shape, I became vacant form the limitless possibilities for my design. Within Liam's workshop we were free to discover new ways of creating a number of decretive techniques, as well as integrated. The hand out Liam provided us with proved for much needed reference, from this I manipulate basic methods to form new and interesting samples using different fabrics and machine finishes. His motivation and knowledge for this aspect of design has inspired me to dig deep into the land of decoration.

Victor & Rolf Spring 2010 Ready-to-Wear

(above image from:http://www.style.com/fashionshows/review/S2010RTW-VIKROLF viewed 29/3/10)

week three: second skin...

During the formulation of my 'Formed/Deformed' leggings I came across a few challenges, as special consideration was needed to insert my halved bouncy ball. This involved the temporary placement of it using pins before sewing on the back circular panel and stuffing it through the opening I had left. This flat panel which closed the feature ensured that the materials would sit in position, packing the hobby fill tightly to form the most plump shape possible. This process was fiddly as I used the zig zag foot to seal the attachment of the ball, as it provided a better grip onto the small seam allowance that remained, whilst averting the bulk.

The choice to construct my ‘deformed’ leggings using a flesh-tone fabric evolved from the idea of the legging becoming a second skin. I have never worked with pale flesh like fabric before and felt it appropriate for this task, as leggings cover a large portion of the body's skin. Many designers today work with sheer flesh-toned fabrics, suggesting the effect of nudity. This subtly entertains the concept of exposure within the design, amplifying the element of seduction. This represents the subject of femininity, in which I have become fixated on during the research and development of our generic garments. The shape I have created emphasizes a females natural contours using proportion to exaggerate the hips, as well highlighting the slender and smooth extent of the legs. The design lines I incorporated into the generic pattern were a result of my 'body experiment' photos. They represent the flowing, symmetrical curves of the leg muscles when tense. The definition shown by my model when she extended her limbs, created fluent shapes through her calves and thighs that drew my attention. From this the trial and error of design lines and their placement transpired.

There was a distinct connection between my findings and the increasingly popular compression clothing called 'skins,' worn by athletes all around the world. SKINS gradient compression has been engineered to provide the correct level of surface pressure to specific body parts, enhancing circulation and delivering more oxygen to active muscles. The fabric in SKINS is warp knitted using multiple fine quality yarns to give superior performance. Warp knit fabrics have no natural stretch, instead, the spandex mix ensures specific levels of elasticity and perfectly controlled compression. I felt as though my choice of a Lycra blend fabric related to bio acceleration technology used for these athletic purposes, as they retain high stretch properties. Not only does this developed technology allow the wearers skin to breath, but its affect on the body is much deeper than the skins surface. This all correlated with my notion of growing a 'second skin' during the wear of this specific garment.

week three: leg in

This week I came to the realization of the numerous conceivable design resolutions with the use of stretch fabrics. It was through the requirements to deform and experiment with generic leggings that I could see a shift in both visual and textural elements within the fabric. My new found obsession with stretch fabric has resulted in the study of my own and others clothes, although it may seem intense it has provided me with the facilities to explore and experiment, to generate new ideas. During the events of L'Oreal Melbourne Fashion Festival I found myself drawn towards the fit and construction of garments that incorporated stretch fabrics. The realm of stretch is both highly technical and conceptual and has evoked curiosity in me.

Stretch

v. stretched, stretch-ing, stretches

To lengthen, widen or distend.

To make taut; tighten.

To extend or enlarge beyond the usual or proper limits.

To expand in order to fulfill a larger function.

To extend to full length (oneself or one's limbs)

This short video highlights the transformation of a stretch fabric under an intense load, capturing the bursting release of pressure as it retracts back to its natural form. This motion is inspiring in relation to the human form and the way stretch reacts to the body. In contrast this has lead me to explore the world of body conscious garments, the way they control and restrain the figure in their extended structure.

Legging can be defined as tight, form-fitting pants that adhere closely to the leg and extend from the waist to the ankles. Leggings in various forms have been worn for warmth and protection by both men and women throughout the centuries. It was not until the fitness and aerobics craze in the very early 1980's that leggings became fashionable as gym-styled street wear for women. With the help of cult fashion brands like American Apparel the generic legging is constantly being reinvented in texture, cut and . Today leggings are worn fully exposed, in place of trousers, or partially covered by a garment such as a dress or long t-shirt.

I recored a number of experimental ideas for the legging exercise and am currently in the process of resolving the outcome. The act of incorporating a 3d form into the generic pattern changes construction entirely, having to consider the tension and shape of the fabric over the chosen article, effortlessly integrating it into the original design aesthetics. For me the regard for seams and the closing of the waist band will be the most significant element to consider.

week two: the singlet....

Deriving from the t-shirt shape a singlet can be worn both alone and under the clothes. Originally used as a form of underwear, requiring it to sit close to the body, replicating its silhouette.

This week I found the unfamiliar process of fitting the material to the mannequins an entirely alien concept. A mannequins 3d form is a realistic and accurate representation of the human bodies shape, allowing us to mould the fabric to its shell. This unique process ensured that we produced a basic singlet shape that was specific to our personal needs or liking. Relying heavily on sight to draw in the shape of the straps and necklines created a sense of freedom, opening up paths to design resolutions. Thought my singlet needed no adjustments in relation to fit, I felt that the line I chose for the straps did not translate on the body and may need modifying in order achieve the most flattering outcome for the wearer. Whilst witnessing my work on a human model it became apparent how the singlet highlights the female hourglass frame, disclosing a hint of subtle suggestiveness from the most understated item of clothing.

Like a second skin, the elastic cotton of a singlet hugs the body’s form, no matter the shape or size, free flowing every kind of movement, no matter how strenuous or extreme. Often it is the last layer of privacy, offering a tantalizing glimpse of naked flesh. Stretch fabric is a thin and subtle fabric that clings to the tiniest undulations of the bodyand leaves very little to the imagination. Through a singlet you can detect the curves of the bust and abdominal muscles. It reveals the line of a shoulder blade, the dip in the collarbone and smooth contours of the hips.

In completion of the 'cut and paste' exercise I wanted to explore that process of stretching/fitting the fabric in a new way. My aim was not to over design, with complex construction, but to execute and explore to a high standard. With the fabric we selected in class I wanted to emphasis tension across the arms in the form of the added straps that hang from the side seams. To do so I eliminated shoulder seams to minimize bulk and create smooth base for the twisted and pulled fabric. The porous net fabric stressed with force in areas under pressure, this created varied depth visible from the slight differences in pink tones. The intensity that was created by simply straining the fabric over the shape of the strap and stay stitching, embodies a sophisticated intention of 'stretch' within the design. Not only does it draw in through its design detail, but is efficient in its function, providing a wide range of methods to be exhibited.

week one: geometric thoughts

Geometry is the mathematics of the properties, measurement, and relationships of points, lines, angles, surfaces, and solids. The challenge assigned to us in week one was to employ simple geometric forms such as circle and square based shapes to form our design edifice.

Reflecting on my resolved geometric t-shirt I feel as though it has been an imperative element to this 'stretch' component. This design outcome has surprised me in not only the form of my own work but from others within the class. The concept of something so simple like a geometric object being rendered to correspond with the complex figure of the human body was a spontaneous process. It seamed almost forced to ask a two dimensional paper pattern, constructed from basic geometric shape, to contour the body's silhouette and still appear as though it was intended. The way in which the flat pattern translates to the body in a three dimensional structure with volume and drape revealed a side of stretch that I had never predicted. It was natural and soft, without the high intensity that I had typically categorized 'Stretch Generics' to project.

My choice to leave the one arm hole open and raw, with no finish applied came from the inspiration of fellow classmates work. I noticed from the 'changed seams' approach to the t-shirt, that people really challenged conventional finishes, using the available machinery in a novel manner. Not only did I want to trial this 'exposed' look, but I wanted to highlight the contrast between the black cover-stitch border and the matte white cotton . As a result of this the oval arm opening becomes understated, blending in with the body of fabric, placing emphasis on the binding as a visual outline for the original shape of the geometric design. Working with the unexpected throughout this process made me a spectator until the resolution of this garment. This approach of working 'blind' and experimenting with unconventional methods of pattern making has fascinated me, as it is far from my natural routine/process and I wish to develop this further.

week one: t is for shirt.....

A work of art, political mouthpiece, advertising billboard, and fashion fetish, in less than 50 years the t-shirt became a kind of textiles chameleon. There are times when its multifaceted personality disguises what it really and truly is- a simple item of clothing, or more accurately underclothing. Before it came out as a unisex uniform for casual wear, the t-shaped white cotton undershirt had already begun its career in the hidden realm of men’s underwear. These intimate beginnings helped to initiate its reputation as something comfortable to wear. In its private contact with the skin was the origin of this revolutionary piece of underwear’s future success. The soft, cotton fabric, with its elastic texture both hugged the body and at the same time allowed it the freedom to move. The simplicity of its T-shaped form (hence its name) has insured its popularity and staying power.

From the start of week 1 I began to question the basic components of a t-shirt. I had never really looked at the construction or fit of a t-shirt to an extent. Thus in trying to think of ways to alter a t-shirt my natural thought process was challenged. It felt impossible to visualize a final outcome, causing me to scrutinize and probe a t-shirt of my own to find potential in movement and document from there. This type of design process intrigued me, not only future outcomes but discovering other viable methods of formulating new solutions.

The word 'generic' seemed prevalent within the introductory class to the Stretch Generics studio. I felt as though I couldn't comprehend its significance within the course brief. "By considering the examples of STRETCH generic garments, students will be challenged to propose new design solutions and applications that break away from customary clothing genres associated with these materials." In order to generate innovative and contemporary designs we must first study these 'generic' garments. To consider a specific item characteristic of or relative to its class or genus, in its most common form. For me this will involve a thorough deconstruction of these basic items to create opposed, conceptual prototypes that have derived from their primary state.

(above image from www.toxel.com/.../uploads/ 2009/04/tshirts04.jpg viewed 13/3/10)