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)