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)