2010 ITAA Proceedings #67 Annual Meeting, Montreal, Quebec, Canada October 27-30, 2010

Design Exhibition

Alexander, T., (2010). Sunset Jungle I: An Exploration in Embroidery and Patternmaking

Alexander, L., (2010). High Definition

Alms, K., (2010). Roundels

Barnes, W. & Haar, S. J., (2010). Shattered Armor: Exploring Social Issues Through Textile Art

Been, A., (2010). Geometric Series, Circle

Bell, C. C., (2010). Bubbling Spring: Creating a New Dress by Manipulating an Old Pattern

Bennett, S., (2010). Hi Fi Flora

Bissonnette, A., (2010). Canadian Greatcoat: Variable Winter Wear for Mild to Subarctic Temperatures

Booton, T., (2010). Ode to Roy

Brown, A., (2010). Guardian

Caldwell, M., (2010). Capricious Pojagi

Carey, M., (2010). Lacy Dame

Caskey, K., (2010). A New Suit of Clothes

Chiu, R., Jiang, K., & Sparks, D., (2010). Growing Breathing Shibori

Cho, K., (2010). Flow of Biorhythm in the 21th Century

Cho, K., (2010). Romantic Sunflower

Christel, D. & Mullet, K. K., (2010). Sustainable Bride

Clayton, C., (2010). Caged Femininity Clayton, C., (2010). Transparent Allusions

Crockett, A., (2010). Light up the Night

Dunne, L. E., (2010). Shiver 1

Dunne, L. E., (2010). Shiver 2

Eike, R. J., (2010). In Knots

Elkes, K., (2010). Horizontal Noise

Esponnette, E., (2010). Novel Raincoat with Loose Pant and Hip Bag

Flenniken, A. & Eklund A., (2010). Lacey Night

Fowler, C., (2010). A Circular Sensation

Fukino, J., (2010). Pele’s Beauty—Goddess of Fire

Geisler, E., (2010). The Awakening

Grebel, K., (2010). Main Street California

Ha, S. Y., (2010). The Goddess of Wood

Haar, S. J., (2010). Fresh Picked and into the Dye Pot

Haar, S. J., (2010). Organic Series No. 4

Hahn, K. H., (2010). Indio Cross Hatch

Hall, T., (2010). Midnight Raven

Hall, T., (2010). Soaring into the Night

Hannel, S. L., (2010). Sanguine

Hayes, L. L., (2010). Thai Orchid

Haynes, A., (2010). Tree Dress

Hodge, C., (2010). Granny Squares

Hsiao, P-H., (2010). Le Bon Vent Husch, R., (2010). Wrapped Coat Dress

Irick, E., (2010). Sunset on the Water

Jiang, K. & Sparks, D. (2010). Sculpture to Wear

Kaiser, K., (2010). Railways

Kesler, S., (2010). Urban Camouflage

Kissell, K., (2010). Il Tondo

Kwon, Y. J., (2010). Layering Empty

LaFleur, R. S., (2010). Amalgamated Anemones

Lam, C., (2010). Luminosity

Lam, C., (2010). Siren of the Modern Day

Landgren, T., (2010). Local Vegetable Fur

Lee, D., (2010). Cascade Denim Evening Dress and Leather Vest

Lee, D., & Kim, J., (2010). Leather Armor Dress

Lee, D., (2010). Notch Collar Jacket Dress

Lektzian, J., & Shin, S-J. H., (2010). Flared Dress with Zipper Flowers

Liu, J., Lv, Z., & Cao, W., (2010). Colored Crystal

Lu, Y., (2010). The Nature of Love

Lundby, D., (2010). Anatomy of a Jacket

Manzari, L. R., (2010). Le Sacre du Printemps

McAllister, M., (2010). Black Widow

McIntosh, N. & Geiger, K., (2010). Dress No. 5 in Blue

Morales, A., (2010). 1987

Morris, K., Stannard, C., & Park, J., (2010). Pupa Butterfly Navarro, H., (2010). Serrat Est Chic 2

Odamaki, Y., (2010). Inspiration from Japanese Traditional Wrapping for Celebration

Odukomaiya, Z. R. & O’Rourke-Kaplan, M., (2010). Design: Modular Fashion and Sustainability in the Apparel Industry

Öhrn-McDaniel, L., (2010). Trinity

Orzada, B. T., (2010). White Birch with Lichen

Park, J. & Hamilton, W., (2010). Inkjet Paint Brush

Pedersen, P., (2010). Tale of Two Towers

Plummer, B., (2010). Uniform Exposure

Roche, C., (2010). Cardboard Countess

Roche, C., (2010). Laundry Room Luxury

Rossetti, M., (2010). The Influence of Japan

Ruppert-Stroescu, M., (2010). Goddess Gown

Sampson, P. B., (2010). Wealth and Happiness

Sanders, E. A., (2010). Fractal Bride

Sanders, E. A., (2010). Thinking Outside the Shibori Circle

Schmidt, H., (2010). Neo Anthology

Schofield-Tomschin, S., (2010). Giglio

Schomburg, M. & Matranga, J., (2010). Curly Little Black Dress

Shaw, J. & Kallal, M. J., (2010). Hidden Adaptations

Sherrill, A., (2010). Moda A La Papier

Starkey, S., (2010). Minimize: Garment Design and Research

Stokes, B. & Black, C. M., (2010). Northvest Nature

Takebayashi, E., (2010). Phantasmagoria Tipton, J. D., (2010). Creating the Spark, not Filling the Bucket

Trimble, G., (2010). Lemur Dress: From Sketch to Garment

Tullio-Pow, S., (2010). Vineyard Vows

VanAsten, K., (2010). Apocalypse Amazon

Vu, N., (2010). One-of-a-Kind Design by Repurposing of Damaged Garments and Accessories

Montreal, Quebec Canada 2010 Proceedings

High Definition

Lalon Alexander, University of the Incarnate Word, San Antonio, TX

Keywords: Design, embroidery, beading, tailoring

Purpose: The industrial Urbanista finds her place in the sweeping Art Deco landscape. In order to fulfill the elegant, mature woman’s wardrobe needs, emphasis was placed on her strengths. A union of geometrics, punctures, embedded hand embroidery, high definition tailoring and subdued draping translate into the modern market woman. The charcoal, anthracite, onyx and aluminum palette blends with any closet. This contemporary goddess will attend her evening affairs with refinement.

Design Process: This garment started with a specific design brief and a challenge to fulfill. The challenge expanded into a collection of imagery to draw on. Architecture, Art Deco, streamliners, cars, trains, greyhounds, silverware, jewelry, stones and minerals, fashions of the past and tomorrow all went into a design journal. Pages included design, color, texture, fabric, embroidery and silhouette inspirations. The designs were narrowed down and muslins made to see what worked. All details were worked out in the muslin stage, including any difficult sewing tribulations (such as the zipper for the pants.) The patterns were made and trued from the muslins. Embroidery samples used up time to see what would work on the fabric and with which designs. At last, the final design was selected and embroidery designed for it. The pattern was marked for the blouse on a squared selection of fabric, as the embroidery is the first thing to be worked. Once completed, the pattern was cut out from the final fabric and constructed.

Techniques: As a designer level garment, the very essence is dedicated to high definition and superior quality. The design is the bearer of excellence with perfection of detail around every corner. The hidden seams are reminders of haute couture techniques utilized in Europe. Incorporating the asymmetrical design required ingenuity of patternmaking. The one-piece pattern uses Japanese patternmaking techniques to incorporate a skewed drape. To implement the zipper into a seamless area, a vent and placket were inserted for stability and aesthetics. The silk lining creates the ultimate feeling of luxury and quality against the skin. The geometric circle embroidery techniques are emphasized by the structure of the garment incorporating ring cutouts into the design. This required a certain amount of hand finishing, also part of the designer level touch. The hand embroidery and beading uses multiple compositions of tambour hook and needle techniques. The sequins and seed beads are applied by tambour stitch. With

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this process, the embroiderer works blind. The right side is facing down and stretched very tightly. The beads are pre-strung and flicked up to the fabric in between each stitch of the hook. A crochet stitch is made with the tambour hook, and a sequin or a bead rests between each stitch. This allows for a quick, tight and secure, yet flexible method of applying the beads. Some of the needle techniques utilized goldwork techniques. This is a very old form of embroidery that can still be seen on ecclesiastical and military garments today. It uses metal tightly wrapped into bullion, cut to precise lengths and sewn on without crushing the metal. Japanese embroidery techniques were employed as well. The flat silk is very delicate, but creates a beautiful effect. The “quilting” is created by over-laying a strict grid and tacking it down at the cross points. These delicate skills were harnessed over years of training and practice. There are a number of ateliers that specialize in this field for designers and manufacturers of fashion. The intertwining, stylized details and graphic elaborations are the selling point of this composition.

Materials: Both the pants and the blouse are made from 95% wool, 5% spandex tropical weight suiting. This fabric lends itself well to both the drape of the blouse and the tailored pants. The parma violet 100% silk satin contrasts with the dark wool both in color and texture. The interfacing is cotton organdy for a mid-weight stability. There are several types and variations of beads: 3mm twisted bugles silverlined, grey satin 3-cut seed, gunmetal true-cut seed, smoke luster 3-cut, lime satin 3-cut, and various Swarovski® and metal beads. The sequin alternatives consist of 2mm silver matte flats, 2mm silver flats and 3mm black flocked flats. There are also a number of threads and silver work materials involved including silver jap, grey chenille, silver smooth purl, silver purl purl, and black flat silk. High quality materials are a must for this maiden of modernism.

High Definition epitomizes this urban chic woman who wears her clothing as shield and sword in today’s world. This season’s new fashion essentials are quality and detail, and she won’t leave home without them.

Tomoko, N. (2005). Pattern magic. Tokyo: Bunka.

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Montreal, Quebec Canada 2010 Proceedings

Sunset Jungle I: An Exploration in Embroidery and Patternmaking.

Theresa Alexander, University of the Incarnate Word, San Antonio, Texas

Keywords: Embroidery; patternmaking; beading; dress

Purpose: Sunset Jungle I was the first part of an embroidery challenge that had to meet a very specific design brief. It fulfilled a brief that evoked images of the Garden of Eden, Rousseau-like tropical flowers and vegetation, and have a sense of danger hidden beneath beauty. The finished product was meant to highlight the embroidery. For this piece, all embroidery was executed by hand. On a personal level, the project was meant to be a chance to incorporate patternmaking and embroidery in a much more aesthetic manner than traditionally seen. It was an opportunity to work with non-traditional shaping in a way that supports and emphasizes the embroidery motifs and artistic flow rather than simply providing a traditional canvas.

Process: The design process began with much visual research on jungles, flowers, textures, embroidery techniques, and fashion trends, followed by sketches for motifs and garments. Images were gathered from books, magazines, websites, and museums and then compiled, organized, re-worked on the computer and by hand and then used for a series of preliminary sketches.

Embroidery samples were then completed to try different “looks”. Various motifs, embroidery styles, and different materials were experimented with. There were some trials with a more simplistic, crafty style as well as some trials with a more decomposed, vintage look. Finally the richness of traditional French couture embroidery combined with the texture and blocky color-use of several folk embroidery styles were combined to create a style that is very intricate and texturally intense, yet evokes a primitive feel.

Different garment samples were also completed to find the optimum shape. After coming across the book Pattern Magic (Tomoko, 2008) from Japan, the whole direction of the project changed. New ways of achieving fit and shape were discovered. Using the lessons learned a series of garment shapes were conceived that would complement the embroidery rather than simply lay underneath it. Many toiles were created and much math was used to get the shapes to work correctly, but in the end the garment shape was reminiscent of jungle lianas and funnel webs. This was much more exciting than traditional western princess seams and darts.

After the final garment shape was obtained and patterns made, the toile was flattened carefully and the shape along with all the seams transferred to extra-large paper in order to have an exact copy of the sewn dress. The final embroidery design was diagramed on the paper copies using sketches and inspiration Page 1 of 2

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pieces. This was transferred pattern piece by pattern piece to the fabric along with all embroidery lines for each piece. The fabric was stretched on extra-large slate-style frames and embroidered by hand. After the embroidery was completed, the fabric was removed from the frames, the pieces cut and the dress was assembled and finished.

Techniques: The dress uses Japanese pattern-making techniques that focus on non-traditional seams. In this case, the seams form cylindrical pockets that are meant to evoke thoughts of funnel-web spiders. The concept behind this technique is not to create fitting, for this is a tent dress, but to create shape. There are 3 pattern focal points on the dress: 2 cylindrical pockets in the front and one in the back. These are what the seams aim to create, but in a flowing manner.

To create the semblance of a cylinder, there must be enough seams to create the appearance of roundness and these seams need to be well distributed around the circumference of the cylinder. The challenge was to do this in such a way that the seams leading into the cylinders had artistic flow, were pleasing to the eye, and worked with the planned embroidery. The seams needed to have a very organic feel, much like the swing of vines or the fall of water.

The other challenge was to eliminate as many traditional seams as possible. All efforts were made to avoid side seams, center back, center front, and princess seams. There is a short center back seam to allow for a closure and a short side seam at the top of each side to help maintain proper grain. But then all further references to traditional seams are removed.

The embroidery uses a combination of French couture, traditional goldwork, crewel, and tambour embroidery techniques. Some of the pieces are three-dimensional and are composed of several layers of superimposed pieces of embroidery that were completed on separate embroidery frames, finished, and then applied with needle and thread on top of a pre-embroidered base. Each pattern piece is embroidered separately. This means that motifs that cross seams must be marked precisely so that they will match when the garment is assembled. This is an extremely laborious process when so many curves are involved; everything must be triple-checked. There are approximately 100 hours of embroidery time in this piece.

Materials: The dress is made of backed natural linen and lined in emerald silk taffeta to give it body. It is embroidered with a mix of silk, wool, and cotton threads, metal plate, glass beads, sequins, and Swarovski crystals. It features a series of self-covered buttons at the center back and then finishes with a hand-picked zipper. The bottoms of the pockets are double layers of emerald taffeta.

Reference: Tomoko, N. (2008). Pattern magic, volume 1. Tokyo: Bunka Shuppankyoku. Page 2 of 2

Montreal, Quebec Canada 2010 Proceedings

Roundels

Kathryn Alms, University of Nebraska-Lincoln, USA

Keywords: Design, Visual Movement

Roundels conceptualize the process of creating visual depth and movement through consideration for significance of color and repeated manipulation of a textile. The color red was chosen as a reference to the color’s significance of good fortune for weddings and other important life events in Chinese culture. Red’s significance in Roundels shows how color can effect an individual’s interpretation of a design based on one’s cultural background. A viewer in North America may interpret Roundels in a very different way than a viewer in China. To further develop the idea of visual depth in relation to textile manipulation, the repetition of circles throughout the garment creates a visual stimulus of a variety of different references to possibly a naturalistic wind or an electronic interference. This visual effect may be interpreted in many different ways based on one’s surroundings.

In developing Roundels, I started with determining the purpose of the garment. From there I began experimenting with different ways to use repetition of shapes to create movement. Once I fully developed the idea of using graduating circles to create volume and movement, I began to develop the color I felt would be most effective. I worked with a variety of different red color combinations for fiber reactive dyes to finally develop a vivid red with a hint of lemon yellow. I then sourced over 40 yards of natural silk organza. I worked through several different options to develop the best process in which to achieve even coloration over the entire yardage. Once the yardage was color matched to my initial sample swatch, I began to cut out all the circles with a stencil and compass-like rotary cutter. At that point I draped the basic silhouette and attached the circles line by line until the entire garment was covered. I went back and added in a few circles in by hand to create an overall balance. Fortunately, I was able to make slight adjustments in samples prior to working on the final garment. This way I was able to avoid any need for making major adaptations to my final design.

I used several different techniques to create Roundels. I draped the under dress and lining for the understructure. I dyed the 40 yards of silk organza by hand in a fiber reactive dye bath. I cut the circles with a stencil and compass-like rotary cutter. I stitched the lines of circles on by machine.

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All the materials for this garment were sourced from Dharma Trading Company. The manipulated circles are 100% Silk Organza. The under dress is 100% Silk Crepe de Chine 16mm. The lining is 100% Silk Crepe de Chine 12mm.

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Montreal, Quebec Canada 2010 Proceedings

Shattered Armor: Exploring Social Issues Through Textile Art

Wendy Barnes, Designer, and Sherry J. Haar, Faculty Mentor, Kansas State University, USA

Keywords: Machine lace, leather, domestic violence

Emotional and physical securities are both key components of human life. They ensure our existence and provide us with a sense of security as we traverse the troubles of everyday obstacles. However, we are not always able to escape the loss of these securities when they are taken into the hands of others. Knights in Gothic and Medieval times engaged their enemies in battle, with many losing their lives; women, both past and present, have struggled at the hands of their fathers, brothers, boyfriends, and husbands, oftentimes losing their life in the process, and social mavens have encountered their own battles and social deaths in the living rooms of Upper West Side penthouses and the red carpets of Hollywood. Fear of death, whether inspired by battle, the graveside, or the Fifth Avenue penthouses of New York and the sprawling mansions of Beverly Hills, is inescapable; its presence is so powerful it even dictates fashion.

Throughout the ages, from armor to funeral wear to Chanel’s little black dress and other designer’s manifestations of her original vision, the raiments that adorn the human body have functioned as a means of protection, both emotional and physical. The type of protection needed depends upon the situation, the elements, and the subconscious requirements of the wearer, but fear is indisputably the greatest motivation underlying the human need for clothing (Dearborn 1918). Because of my location in life as an artist, woman, and feminist I am constantly struggling with a way to create balance between my personal beliefs and the needs of my profession. Determined to find a greater good in the work I do, I attempt to embark upon pieces that reflect my feelings about the world around me. As I grow older and encounter a more diverse group of people, my opinions about social issues evolve. Domestic violence has recently become one of those issues.

Inspiration came from stories of a friend’s life; however, stepping outside of her life was the challenge. Drawing upon the ideas of protection and security—both of which are often fleeting and deceptively weak despite appearances, I looked to medieval armor and the little black dress (LBD). Both were, and in the case of the LBD still are, essential garments for a sense of emotional and physical security. Once I found my inspiration, many methods were used to create the garment: sketching, journaling, photography, sewing (both machine and hand), cutting, piecing, draping, and machine sanding.

Given leather’s historical use in armor construction, it was the most appropriate fabric textile for the bodice of my dress since I was trying to emulate armor. Because the leather was going to be pieced, thread selection was integral to the overall meaning of the dress. Because purple is the color of domestic violence awareness, I selected a variegated purple thread that both complemented the leather and offered a range of color to simulate the different shades of purple used for awareness. Each leather strip was then fitted to the bodice and joined to its companion piece with the breast area left exposed. Since I wanted to maintain the idea of armor, but intertwine it with vulnerability, I cut up small chunks of leather and encased them in water-soluble stabilizer; creating a machine lace with “shattered armor”; thereby heightening the sense of vulnerability already created by the sheerness of the lace.

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Once the front bodice was complete I began creating the back. Realizing that I did not account for closure in the bodice, I decided to incorporate it into the design of the back. Given that straps were used to hold armor together, I created nine straps down the back of the bodice, using purchased purse buckles sanded with a Dremel to achieve a distressed effect. Finally, I decided to carry the look of the bodice into the back straps by playing with the idea of machine lace and the purple of domestic violence awareness. As with the bodice, I incorporated leather chunks so as to maintain the idea of “shattered armor”. I decided to encase the lace between two leather strips that would attach to the shoulder portion of the front bodice. In order to allow for upper back adjustments, I added Velcro to the bottom of each strap, so it could comfortably attach to the upper back strap and still allow for wearer adjustability.

The idea of being encased in wire with no true escape seemed to embody the situation of a battered woman. Adding the hidden element of the cage underneath the delicate skirt would depict the lengths to which most abused women go in order to hide their abuse. I began the process of cage creation by snipping the steel and wrapping it around the dress form to where I felt it would look best. Once I was comfortable with the width of each hoop, I closed them by snipping a piece of the plumber’s tape and bending it down around the hoop. I settled upon covering the steel hoops with a some lace I found in my fabric stash. Since I wanted the lace to fit snugly, I hand stitched it around the galvanized steel hoop, ensuring a close fit. By attaching the snap tape to a 6-inch length of twill tape and stitching it onto the lace, I was able to create a moveable hoop system that would allow an up or down adjustment on the second and third hoop.

Prior to draping, cutting or stitching, the fabric was hand-basted in a contrasting color (Images below) in an attempt to stabilize the fabric and prevent shifting. The drape occurred over the cage, thereby ensuring enough fabric for the wraparound effect desired in the end. In order to gather the panels without damaging the fabric, the hand-basted threads were used as the means of gathering. Once gathering was completed, scotch tape was placed on the gathers to hold them in place as the fabric was stitched to the leather bodice.

The final garment, a dress with pieced leather bodice, beaten silver, back buckle closures, crinoline cage, and triple-layer, silk chiffon, wrap-around skirt embodies the theme of domestic violence all while functioning as a new reincarnation of Chanel’s Little Black Dress.

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Geometric series, circle Audrean Been, Columbia College Chicago needle weaving, fringing, bias cut, tea dyeing Using needle weaving, a type of drawn thread work that is created by weaving yarn into the existing warp or weft threads to create new thread patterns, I created this off-the-shoulder, shawl- style top using tea-dyed hand fringed bias cut 100% cotton monk’s cloth with walnut, dusty blue and spice organic cotton yarn embellishments, highlighted with glass beads and circular tucks. I was exploring the bias cut fabric’s draping properties and also the “no waste” principles of designing a garment that uses all of the fabric yardage. Inspiration for this design came from the actual textile used to create it, the cotton monk’s cloth. Limiting trim and embellishment to washable products presented an additional design challenge. The resulting fringed circular top presents a contemporary western usage for the monk’s cloth, which is traditionally used as upholstery fabric. I am showing it with 100% cotton blue denim shorts and this top is covering a bathing suit.

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Montreal, Quebec Canada 2010 Proceedings

Bubbling Spring: Creating a New Dress by Manipulating an Old Pattern

Chelsea Creech Bell, University of North Texas, USA

Keywords: Design, patternmaking, metal

I find great joy and challenge in creating multiple garments from the same pattern. This is an exercise that I indulge in when creating things for myself. I use a simple pattern and figure out ways to make the garments distinctively different. It is an exercise that is surprisingly challenging. Since I enjoy this exercise, I decided to carry it over to a more complex venture. I started with a basic shirtdress pattern that I had created. The original shirtdress pattern included a yoke with a gather-on bodice, no darts or princess seams, long sleeves, and a convertible collar. I challenged myself to create a new shirtdress, for daytime wear, by manipulating the pattern I had already made. I wanted the garment to still be identifiable as a shirtdress but different from the original dress. I challenged myself to alter the original pattern through flat patternmaking techniques and make a completely different shirtdress. I started the design process by finding inspiration in the Yann Arthus Bertrand photograph of the Grand Prismatic Spring at Yellowstone National Park pictured at the right. Once I had inspiration I sketched until I settled on a suitable design. I knew that I would be working with white warsa linen so I used the photograph to determine form as well as accent colors and design details. Once I had settled on a design I began manipulating my pattern. I started the pattern manipulation by adding a shoulder seam and removing the yoke. I then removed the gathers and added front and back princess seams to alter the fit of the dress. I changed the collar from a convertible collar to a mandarin collar. I wanted the dress to have a sleek look so I made the front button placket plain with hidden buttons. I then changed the sleeves to reflect my inspiration. The Grand Prismatic Spring is a large, slightly irregular, circular geyser so I decided to change my sleeves from long sleeves to a short flounce sleeve made up of three layers with the last layer sewn into the princess line ending at the waistline. The edges of the sleeves were finished with blue cotton-linen bias binding and hand- stitched with embroidery floss. The final touch to the dress was to sew four bound buttonholes, in the contrasting blue cotton-linen, into the waistline with the belt weaving through the buttonholes so that the belt was visible on the front and back of the dress but not on the sides. Page 1 of 2

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Once the dress was complete I moved on to the making the belt. The belt would mimic the finished edge of the sleeves and close with a custom-made belt buckle. I made the belt buckle by creating a paper pattern of the desired shape. I then transferred the shape to the metal and used a jeweler’s saw to cut out the shape. Once the shape was cut out, I annealed the metal. Annealing is the process of heating the metal and then cooling it so that it is more pliable. After the metal was annealed and cleaned I hammer-formed the shape to give it dimensionality and then created a hammered finish. After the metal was cut, hammer-formed, and hammered the hardware was attached to the back and the buckle was ready for patination. The blue patina was created using ammonia and salt. The buckle was covered in salt and placed with a container of ammonia inside a sealed container. The salt and ammonia oxidized the metal creating the beautiful blue patina. Through pattern manipulation I was able to create a completely new shirtdress out of an old pattern. This exercise continues to challenge me as I push myself to go further and further from the original and create very different garments.

References

Bertrand, Yann Arthus (2002). The Earth From Above. Grand Prismatic Spring: Yellowstone National Park.

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Hi Fi Flora Sarah Bennett, Iowa State University, USA Keywords: digital printing, dyeing, design

Purpose Digital printing is among the most prescient areas in contemporary apparel design technology. With the arrival of digital printing comes new, dynamic possibilities for surface design, allowing fabric to appear in a nearly limitless color range with photographic quality and no standard form of repeat. The digitization of fabric design is a rule changer for what is possible for modern textiles. However, as with all technologically driven paradigm shifts the transition is not without its challenges. While the imagery on digitally printed textiles is stunningly crisp, it also diminishes many of the tactile qualities of fabric that are so desirable. In many instances digitally printed fabric can result in designs that are sterile and lifeless: their precision having overwhelmed the warm tactility inherent in the cloth. The purpose of this garment is to address these challenges head on and harness the advantages of both digital and mechanical modes of production. By manually affecting the digital image a balance is struck between the crisp perfection of the digital elements and the organic nature of mechanical resist dye techniques.

Process A great deal of experimentation was done combining digitally printed images with hand dyeing. Over 50 small swatches were printed and dyed using a wide variety of image content, color, and mechanical resist techniques. Some of the samples produced results in which the hand dye processes completely covered and eliminated the detail of the digital images. The most interesting results were those in which the two types of images complemented each other by being present in the same swatch of fabric with little actual overlap. It allowed to the two types of surface design to contrast and strengthen each other, rather than fight for visual emphasis.

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For the final garment design, the digitally altered image of the palm frond was engineered to fit into the various pieces of the skirt, growing progressively larger from front to back. The skirt is composed of 11 petals, six of which contain digital printing. Alternating petals were left blank to prevent the printing from adding excessive visual weight to the bottom of the garment. The images were then covered on both front and back with beeswax, in order to maintain the integrity of the digital crispness through the hand dye processes. The edges of the petals, both digitally printed and non-printed, were then cinched into safety pins parallel to the outer edges and dyed. This process was repeated several times using progressively darker dye colors and adding more safety pins, creating more mechanical resist. The bodice of the dress was also included in the final dye bath to create a matching, solid fabric. The wax was then removed from the fabric by soaking each individual piece in boiling water, causing the wax to melt off of the fabric and float to the top of the water where it could be reclaimed. After several washes to eliminate any stiffness in the fabric present from the wax, the pieces were ready for the final garment construction. The bodice was cut on the bias with eleven notches of ninety-degree angles evenly distributed around the circumference of the bust line. The skirt petals were also cut on the bias, ensuring that they would connect smoothly to the bodice. By joining the pieces in this manner, the pieces drape around the body and move with the freedom allowed by bias construction. However, the places where the pieces actually connect match the fabric on the grain, giving the strength necessary to support the weight of such a full garment.

Techniques The construction of this garment required a number of skilled techniques. First, the digitally printed images were photographed and altered using Adobe Photoshop software. This allowed for control of the type of image selected, color, size, and sharpness. These images were then printed using the state-of-the-art Mimaki digital fabric printer. Multiple samples were printed ensuring that the final printed color matched the profile on the computer screen. Next, the samples were dyed using fiber reactive procion dyes. This type of dye involves a multi-step process to ensure that the chemical bond forms between the dye molecules and the cellulosic fibers of the fabric.

Materials The body of the dress is made entirely from 100% cotton lawn, pretreated to accept digitally printed images. The fabric was dyed using sublimation dye inks in the Mimaki digital printer and Procion fiber reactive dye for the mechanical resist processes. The thread is a core spun, cotton/polyester blend.

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Canadian Greatcoat: Variable Winter Wear for Mild to Subarctic Temperatures

Anne Bissonnette, Ph.D., University of Alberta, Canada

Keywords: Winter, fur, coat, recycling

Purpose: To create attire that addresses the needs of Canada’s variable winter weather patterns and merges the country’s traditions and current fashion forward practices. Keeping in mind that temperatures with wind chill can reach -72ºF/-58°C in certain eastern and western metropolitan areas and may change drastically within the course of an hour, flexibility in warmth is required. Urban living also entails increase walking and use of public transportation in the daily commute. An efficient layering system should address warmth, its quick release in heated environments as well as wind and water proofing. Ease of movement for backpack use and access to a bus pass without glove removal is also desired. Ethical and sustainable solutions are essential.

Process: Research by Oakes and Riewe concluded that, in many respects, the time-tested fur clothing of Arctic people provides superior insulation than modern synthetic materials. Warm, windproof and water repellent, fur has been used by many northern cultures and has played an important part in Canada’s history. Investigation into traditional Inuit two-layered clothing systems and their use of fur played a major part in the design process (image 1 and 2). The Inuit practice of using fur facing inward and outward for different purposes led to a reversible scheme (image 3). As the use of fur presents ethical issues, a used 1979 fur coat was recycled (image 4). This also serves to address the issue of sustainability. A fur with long stiff guard hairs and dense under fur was sought. Raccoon was obtained but the design could be transferred to other desirable bulky multi-density furs that help reduce heat transfer.

To a wearer of nylon winter wear with light-weight filling, the 1979 coat was heavy and out of style. To redistribute the weight away from the shoulders, a quilted nylon section was inserted at the waist. A belt worn over this hourglass-shaped insert helps weight redistribution. The fitted waist insert also serves to add silhouette definition and lengthens the coat to increase warmth and cover midi styles. The fur sleeves were replaced by nylon and batting ones to decrease weight, increase the glide of backpack straps and provide a contemporary casual style. Although hidden pockets from the original coat remain, two large detachable pockets were made to increase storage and ease object retrieval with gloves. The coat can be worn with the fur facing outward or inward: the former sheds ice and frost more readily and provides more room between body and coat, while the latter provides a smaller micro-environment for maximum heat retention. The Inuit parka style was impractical for quick heat release so a center front opening with a minimal closure system of three hooks and eyes at the waist insert was used instead. The fur coat can be worn by itself or with an independent sleeveless nylon undercoat. The fitted undercoat provides optimum front coverage and reduces the need for multiple under layers of clothing. In milder winter climates, it can be worn like other sleeveless winter vests.

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Techniques: Quilting was used on both coats. The outercoat’s quilted mid section reduces bulk and retains its winterizing ability. Quilted lines on the sleeve head, wrist and underarm seam were added to extend a quilted element to other parts of the coat and to create a smoother line at the sleeve head when the fur is worn inward. The same quilt pattern is used on the undercoat to reduce bulk and provide a good fit. The original fur coat lining was removed to expose the skins. A nylon outer shell was considered but discarded as it added weight and hid the beauty of the pieced skins. The stamping and writing done on the surface of the skins helps to give the coat a contemporary “deconstructive” quality. Some of the original cloth and felt tapes that were never meant to be seen are also left in place and exposed. Furthermore, to break away from the luxury appearance of traditional furs, industrial-looking silver hardware and large pieced pockets were added. The pockets treatment is reminiscent of the piecing of the skins.

Materials: The outer coat is made of raccoon fur, black mat nylon, leather cuffs, polyester batting and metal hardware (hooks, eyes, rings, clasps). The inner coat is of shiny coated nylon, polyester (batting and lining), grey mother-of-pearl buttons and a metal hook with its eye.

Image 1 Image 2 Image 3 Image 4

References: Cotel, Aline J., Raymond Golingo, Jill E. Oakes, and Rick R. Riewe. “Effect of Ancient Inuit Fur Parka Ruffs on Facial Heat Transfer.” Climate Research 26 (April 10, 2004): 77-84. http://www.int-res.com/articles/cr2004/26/c026p077.pdf. Dyck, Ian. “Snow Travel in Ancient Canada.” Canadian Museum of Civilization, Jan. 13 2010. http://www.civilization.ca/cmc/education/teacher-resources/oracles/first-peoples/iandyck. Kobayashi Issenman, Betty. “The Art and Technique of Inuit Clothing.” McCord Museum of Canadian History, 2007. http://www.mccord- museum.qc.ca/en/keys/webtours/CW_InuitClothing_EN. Oakes, Jill and Rick Riewe. Our Boots: An Inuit Women's Art. Toronto: Douglas & McIntyre and Bata Shoe Museum, 1995.

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Ode to Roy Tacia Booton, University of Nebraska-Lincoln, USA Keywords: Minimalism, Halston

This garment explores conservation of fabric, minimal seam lines and fabric waste. Geometric panels of fabric were draped and manipulated to develop an ensemble inspired by American designer Halston, who developed wearable garments though use of geometric shapes, minimal seam lines and layers of fabric on the body.

The process began with a classroom design challenge. The charge was to explore how geometric shape can be manipulated and adapted into garment construction. For the exercise, two rectangular panels of fabric were draped on the body to create an ensemble. One cut was made into the design to allow for shaping at the neck line. Following this challenge, designer Halston was researched for his design work which explored minimal seam lines, geometric shapes and luxurious wearable draping. One original Halston design was selected and draped, as hands on research, to fully understand the principals and design techniques used in his creative work. Finally, an original sportswear ensemble was designed. This garment embraces Halston aesthetics of lucid drape, minimal seam lines, geometric fabric panels, and layering of garment components.

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This ensemble is designed for a contemporary Halston customer. Near the end of his career, Halston desired to design clothes for everyone in America rather than for the elite. Halson’s goal is hopefully apparent in the design choices made with in my original ensemble. The look was developed according to contemporary trends and designed for a large demographic. The garments within the ensemble work together as well as separate, coordinating with other clothing items the consumer possesses with in their wardrobe. The look translates from day to evening and brings a casual luxury to the female form.

The construction choices of this ensemble were chosen to reflect the design techniques, silhouettes and fabric choices apparent though designs by Halston. The vest and tank were each developed though draping with a single yardage of fabric. The vest was draped from three yards of fabric, no cuts and three seams, whereas, the tank utilized one yard, three lobular cutouts plus a facing. The only seams made in the tank top were to connect the facing to the body of the tank. The shorts were constructed from a repurposed vintage ultra suede trench coat. The shorts embody the idea of conservation of fabric in a different way. They are composed of more seam lines and did waist more fabric. However, the sustainable use of repurposed ultra-suede introduces conservation of pre-used garments in design.

Wearable fabrics, indicative of Halston sportswear, were chosen for this ensemble. The geometric tank top was constructed from a warm olive stretch silk charmeuse which gives the tank top its fluid drape and lustrous appearance. The vest was draped in a warm grey cotton rayon blend providing a light weight finishing piece to the ensemble. Warm grey ultra-suede was repurposed in the high waisted shorts for its relationship to Halston’s sportswear design. Halston utilized ultra-suede in developing staple garments such as the shirt dress, trench coal, pencil skirt, pants, shorts, etc. Basics, such as these, were often styled with other loose fitting garments, creating a dichotomy between lucid drape and tailored pieces.

In conclusion, while Halston is associated with American design of the 1970’s and is connected to Studio 54 and its female attendees’, Halson, had a vision and desired the challenge to create apparel for all Americans rather than just its elite. Though research of Halston design, hands on research through recreating an original Halston garment, and through my original design work I have developed a wearable ensemble that targets a large demographic and stays true to design principals and techniques used by Halston.

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Guardian

Amelia Brown, Cornell University, USA

Keywords: Design, outerwear, protection, Sonobond

This ensemble was designed for the women’s luxury market. The coat is a luxe take on functional outerwear. Think black-tie dinner outdoors in the snow in Aspen! While the inner layers insulate, the exterior is rich with textural interest and intricate pleating. The collar is a separate piece that can be paired with other ensembles. The skirt is an eveningwear piece with a dramatic columnar silhouette and a high suede waistband. The jacket can be worn belted or unbelted.

I am a designer who is inspired by context. I design pieces that come from my view of social contexts and that create a context for the wearer. Lately I have been concerned with the concept of protection. The world seems increasingly dangerous and privacy when in public places becomes more of a luxury as private citizens seek fame by exposing themselves on television, politicians are scrutinized more than ever for extramarital dalliances, Lady Gaga pokes fun at the whole notion of being a private individual in a world where everyone is on stage. This “turning inside-out” of the public sphere is one bombardment to privacy. The other is the international urban travel experience. Air travel is an exhausting public act that involves elbowing strangers, donning and doffing garments, and public scanning of one’s body and possessions (a recent insightful fashion accessory shoot in Bidoun magazine references this process, showing the latest designer bags from the viewpoint of the TSA x-ray machine, with contents on display in their black and white inverted glory). Air travelers often feel both stripped and unprepared, with climates changing quickly between the air terminal, the airplane, and outdoor environments. These bombardments, this lack of control inspires a need for protection. I create an image of protection using physical barriers of fabric layers that enclose the head; even immobilize the wearer for their own protection.

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I constructed the gray pleated sections on the coat and cuffs by layering felt, Thinsulate ®, polyester satin, and polyester chiffon and securing all layers with diagonal basting. I then used the Sonobond ultrasonic bonding machine to thermally fuse these layers into pleats. These sections add textural interest and the sheer black fabric over the shiny white satin creates a pearlescent light play. For the main part of the garment I chose an embossed microsuede, an outerwear material that is slightly iridescent, which corresponds to the pleated sections. I paired this with a polyester satin that has both the body and sheen to compliment all the other fabrics. The layers of Thinsulate ® makes this outerwear piece functional as a warm-weather garment, yet the outermost chiffon layer makes it feminine. A silk charmeuse lining adds warmth, femininity, and a sense of inner luxury.

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Capricious Pojagi Melissa Caldwell, University of Nebraska, USA Keywords: Korean, Pojagi,

Capricious Pojagi was designed due to a classroom assignment. We were given the boundaries of having to use an Asian aesthetic and to make a statement with this garment, whether it is a personal, social, or aesthetic statement. Recent experiences in my life had given me a new awareness of the effects of bipolar disorder on a person’s life, which then became the inspiration and statement for Capricious Pojagi.

Research into various Asian aesthetics was the beginning of the design process. Traditional garments such as the Japanese Kimono or the Korean Hanbok were researched as well as modern designers such as Issey Miyake and Rea Kawakubo to give an understanding of the breadth and depth of Asian aesthetics. I was drawn to the traditional Korean clothing from my research. The Tang’ui jacket in particular caught my attention with its bowed underarm seam and its curved, pendulum like shaped hem. Korean wrapping cloths, known as Pojagi, were a second inspiration for this garment. The Pojagi were often constructed out of scraps of fabric with meticulous French seams.

The bottom layer of this garment is a dress in a dark blue polyester moiré fabric. The dress is sleeveless, with a square neckline and an empire waist. The dress a-lines out from the empire waist and then finishes in the pendulum-like shape of the Tang’ui jacket in the front. The back of the dress is a pooling train. This layer of the garment represents the depression cycle of bipolar disorder. Blue fabric was intentionally selected, as it is often used to represent the somber moods. The train and massive nature of the dress represent how encompassing and all consuming depression can be in an individual’s life. The dress was constructed with regular seaming and is finished with hand hemming, and a facing at the armhole and the neckline.

The middle layer is a jacket based off of the Korean Tang’ui jacket. The neckline and sleeves were designed to follow the lines of the traditional jacket. The top of the jacket was pieced with large rectangles of various colors of silk dupioni and silk organza. Two layers of gradating, pendulum-like extensions were added to the jacket. The lower layer is a silk dupioni in a grey blue color, representing a slightly better mood than the overwhelming depression cycle. The top layer of these pendulum like extensions is pieced with silk organza and silk dupioni in a Pojagi- like fashion with French seams in various blues and neutral colors. These rectangles represent

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the moods experienced in normal life. The rectangles are then sewn through with various diagonal seems, which subtly interrupt the normal flow of the rectangles. The diagonals are how bipolar disorder can disrupt a person’s life. The jacket was sewn with French seams and is finished with hand hemmed edges.

The top layer is a second jacket out of a silk organza. This layer is a lighter, translucent layer, representing the manic stage of bipolar disorder. This jacket is a shorter version of the other jacket. To finish off the garment and to continue with the Korean aesthetic, a sash in a navy silk organza, tied in a Korean bow is tied at the empire waistline.

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Lacy Dame

Megan Carey, Virginia Polytechnic Institute and State University

Chic, Modern, Delicate

Lacy Dame was designed as a part of an undergraduate research collection. The title of the undergraduate research project was, The Modern Adaptation of Historical Wedding Dresses. This undergraduate research project included researching multiple eras during the 1900s, understanding the different silhouettes and materials used, and how the culture affected dress during these decades.

Lacy Dame is inspired by the 1920s. The dropped waist, bias cut dress was inspired by the revolutionary style of the flappers of the 1920s. The flappers brought an unrestricted, feminine look to fashion. The hemline of this dress is also a historical nod to the

increased hemlines of the 1920s. The hemline of the lace hits right below the kneecap. The deep plunging v-neck in the front, and the back, with a cowl, dipping right above the tailbone create a dramatic feel.

The dress was developed using draping techniques. The bodice is cut on the bias to create sketch and better drape. The bodice is constructed from a slightly off-white silk, light weight silk. The underskirt is attached to at the hip-line and constructed from a sheer silk fabric. Lace is an intricate part of the design. The lace on the bodice and skirt have been hand trimmed to create texture on all sides of the lace, not just the traditional scalloped edge. The lace around the neckline of the bodice is used to create a lace necklace. The dress incorporates and creates jewelry for the bride. The lace strips on the skirt are individually placed and unattached to each other to enhance fluidity.

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Around the hipline of the dress sits a lace and pearl trim and on the bodice of the dress, I have hand beaded sections of the lace with multiple sizes of pearls.

Lacy Dame is a design that brings textile art to mainstream fashion.

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A New Suit of Clothes

Kristin Caskey, Department of Fashion Design and Merchandising

Virginia Commonwealth University, Richmond, VA

Children, design, digital, textile

A New Suit of Clothes was created in the spring of 2010 as an exercise in new product development. Digital textile printing has created new opportunities for designers to create prototypes and bring highly creative ideas to market without the up-front investment of manufacturing minimum yardage off-shore. A New Suit of Clothes brings together a number of my personal design research issues; rapid textile design prototyping, small scale manufacturing, children’s wear, and textile design as a personal, creative exercise. In a landscape of low-cost commodity manufacturing and marketing of garment products, it is my hope that small designers will find an increasingly wider niche for well-made, well-designed, and personally satisfying products made closer to home.

A New Suit of Clothes was inspired by a number of things; my daughter, Lulu, my husband’s wild and wonderful sketchbooks, Little House on the Prairie, and, my textile and garment design background. Our family has been inspired by the Little House books which describe a time when the simple acts of sustaining a family also brought joy and a deep knowledge of living systems to life for Laura Ingalls Wilder. The children of the house sewed, knit, cooked, did chores and spent hours outside exploring their natural surroundings. Life skills such as sewing, knitting, cooking and caring for a home and animals were the natural work of children. Lulu and I were inspired by the descriptions of the annual creation of a new suit of clothes for one of the characters, from the selection of fabrics, to the creation of a paper pattern and the thrifty use of all the bits of fabric in the finished garments. I have attempted to create a personal and modern version of this process in A New Suit of Clothes. The garments created can function as a child’s wardrobe for a number of looks. A cotton sateen hooded coat is printed with fantastic animals and lined with bright red hearts, whimsy dictates an asymmetric red cuff and pocket flap, along with a hand painted shoulder patch. A cotton lawn tunic is covered with birds of all description. The shirt has a pin-tucked front with snap closures, three quarter sleeves with flared pin-tucked cuffs and a circular flounce of a hem. The skirt has a yoked waist with a pin-tucked full skirt, the red underskirt has a ruffled hem which peeks out, this skirt is reversible. A pair of cotton-lycra

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leggings and a cotton duck messenger bag complete the look. With the addition of a tee shirt a child could wear these pieces for a weekend of travel, or, like the children in the Little House books, for a number of seasons.

I perused the pages of my husband’s sketchbooks for drawings which I felt would lend themselves to children’s garments, recurring themes of birds, fantastic animals and curious structures were scanned and saved . From these the Lectra Systems U4ia program was used to create prints. Muslins were made from drafted patterns, fitted, and corrected. I then printed fabric on the Mimaki TX2 fabric printer, steamed and finished the fabrics, and cut the final fabric, I stitched all the pieces and hand and machine finished the ensemble.

Well made, delightful, intentionally designed clothes for children are still passed down, saved and loaned to friends and family. My intention with A New Suit of Clothes is to create garments which showcase technology in a creatively freeing way while supporting the development of small scale design industries.

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Growing Breathing Shibori

Rose Chiu and Kinor Jiang Hong Kong Polytechnic University, Hong Kong Diane Sparks, Colorado State University, USA

Shibori Textile Dyeing, Couture

Purpose: There was a two-fold purpose for this design. Conceptually the idea was to create a textile art piece that expressed the beginning of life from the primordial ooze phase, using shibori technique to simulate bubbles forming in the sea water. The second purpose was to create an elegant evening dress suitable for a black tie gala event or a red carpet occasion. Subtle shifts in color and extravagant texture were the main design elements used to create visual interest in this couture wearable art design.

Montreal, Quebec Canada 2010 Proceedings

Process: Ideas for the dress silhouette and location of shibori shapes were refined through the process of sketching. To accomplish the illusion of the beginning of life in primordial ooze, a semi-translucent fabric was selected to emulate the sheer film one might see on the surface of water with algae present. In the nylon aluminum fiber content of the selected fabric, the metal content of the fabric was essential in that the metal would help maintain the shape of each shibori area after it was dyed and untied.

Techniques: When the final sketch was accepted and the fabric was selected, the garment pattern pieces were draped on an industrial form. These pattern pieces were adjusted after a first fitting with the model. The nylon aluminum fabric was pre-treated with a base soda solution, and the garment pieces were cut and sewn together, and then each shibori area was resist-tied with a rubber band. Shibori shapes were created in multiple sizes, and were arranged to follow and to enhance the linear contours of the dress. The dress was dyed, and then over-dyed to achieve the ombré shading at lower skirt. The rubber bands were removed after all phases of dyeing and rinsing was finished.

After garment assembly and dyeing were complete, silk lycra fabric for the lining was hand-dyed. Multiple lab dips were required to arrive at a color formula that did not change the appearance of the semi-transparent dress fabric. The lining was cut using the original dress pattern, but since the shibori process caused some dimensional change in the dress (shrinkage), the lining was shaped on an industrial form. Then the dress was hand-stitched to the lining.

Materials: The dress fabric is nylon aluminum, and the lining fabric is silk lycra.

Montreal, Quebec Canada 2010 Proceedings

Flow of Biorhythm in the 21th Century

KyoungHee Cho, Mokpo National University, Korea, Parsons The New School For Design, USA

Key words: winding, irregular, structural, wrinkle

Purpose & Inspiration: The purpose of this project was to create a dress that symbolically signified an expression of biorhythm. With an emphasis on environmental image of the 21st century, the rhythmical movements and flows of the regular and irregular biorhythm were explored on the dress. Microscopic photos of biorhythm inspired the design idea. It can be worn for eveningwear or as a party dress for a special occasion like the Academy Awards. Concept & Design Process: Qualities of the design concept include vigorous, flexible, voluminous and dynamic elements, which have involved the unlimited potential energy for human life with varied life style of the 21th century. With an emphasis on this image, the structural dress shape that has body-conscious line of the top and barrel shape of the skirt, and the unbalanced hemline was created. The irregular white winding lines spread across the surface signify the core flow of biorhythm in the 21th Century. Techniques: To implement wrinkle texture on the surface prior to making a dress, the fabric was reproduced by making smocking shaped squares with very fine elastic thread. Draping technique with biased grain was used to develop the structural dress shape. In particular for creating winding lines with navy and white contrast, patch-working across the body-suit and interlocking piece to piece were used touch by touch, how it flows, crumples, and catches highlights. The hemline is flared, making asymmetrical balance and forming volume and rhythm, which was created by joining several different pieces together with the different angles of biased grain. It was finished by interlocking. The neck band of self-fabric pieces was made by same techniques. Materials: 100% silk organza and 50% polyester / 50%spandex Date Completed- May 22, 2010. Measurements: Bust-32”, Waist-25” Hip-35”

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Romantic sunflower

KyoungHee Cho, Mokpo National University, Korea, Parsons The New School For Design, USA

Key words: printed, draped, layered, gradation

Purpose & Inspiration: The purpose of the work was to create a dress that symbolized the image of a sunflower with visual perception. It was inspired by the TV documentary “Flowers”, which showed many flowers and their meanings including sunflower that has yellow petals, orange pistils and stamens and brown seeds in the center. It can be worn by a fashionable woman at occasions when a special and unusual garment is desired. Concept & Design Process: ‘Sunflower’ came from ‘flower towards sun’, which has meanings of ‘longing for’ and ‘yearning for’. Those are involved with the lovely and sensuous moods of romantic concept. With an emphasis on this image, the fabric was printed with patterns of sunflowers and diamond shaped seeds on the surface. The rounded shape was made for the dress concept. Layered and draped sides and hip were symbolically made for the sunflower petals. The stone trimmings with three dimensional textures signify the distinctive image of the sunflower seeds. Specifically, the gradation effect with red, orange and yellow has been done for emphasizing the sunflower color with image of sun and flower and for including the look of romantic image. Techniques: Silk screen printing with gold metallic patterns on the black wool has been done prior to making a dress. The structural dress shape with voluminous sides and hip and exposed back was created by draping through wrapping and layering with bias grain. Front bottom pieces were going from front toward back to allow for no side seams, looking like pockets. Black parts on the front were made by inside out of fabric. Stones were attached by hot glue. Materials: lightweight 100% Wool, Acrylic cabochons and gemstones (8mm to 11mm) Date Completed- May 22, 2010. Measurements: Bust-32”, Waist-25” Hip-35”

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Sustainable Bride

Debbie Christel and Kathy K. Mullet

Oregon State University, USA

Keywords: origami, sustainability, dryer sheet, bride

The purpose of this project was to create a truly sustainable, wearable garment. When doing laundry one day, I realized that I throw away all my dryer sheets and they are not re-used. After further research, I discovered that the average dryer sheet is not even recyclable and can take up to 40 years to biodegrade. This inspired me to incorporate dryer sheets a sustainable product for apparel design.

I was determined to rescue as many used dryer sheets from going to landfills as possible. I started by collaborating with a local laundry-mat and set out boxes to collect the used dryer sheets. Just 1 month later and several trips, I collected over 2,000 used dryer sheets to make my dress. Next, I researched wedding dress styles and decided that the simple strapless ball gown would be appropriate to balance the incredible texture of the dryer sheets.

I was inspired by the texture and shape of the dryer sheet. There were so many possibilities to create a shape for the skirt. I decided on an origami folding technique to create over 1,500 flowers for the skirt. Each flower was hand folded and sewn onto a used bed sheet as the understructure of the skirt. A hand ruching technique was used to create the strapless bodice and left over lace from the used bed sheet was used for detail at the top of the bodice. Flat pattern and draping techniques were used to create the understructure.

In total, over 2,000 used dryer sheets, a used sheer white curtain and a used white bed sheet with lace trim were recycled to create a zero cost sustainable garment. Not only is this beautiful but sustainable and wearable.

Date Completed: February 2010 Measurements/Dimensions: Bust 35” Waist 26” Hip 45”

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Caged Femininity

Cassandra Clayton, Dr. Barbara Trout (Instructor), University of Nebraska-Lincoln, USA

Keywords: Design, Experimental, Open work

Caged Femininity was created with two goals in mind: to utilize the technique of open work and to create a garment that displays an in-depth level of meaning. A wide variety of materials were used to create cage-like structures and grid-like portions of open work throughout the garment. The cage-like structures were key in adding meaning to the garment. Caged Femininity speaks to how a woman’s natural feminine qualities provide her with a source of power and tool that can be used to suppress her. The placement of the “cages” over the shoulder region and around the hip gives the garment a bold strong presence indicating the strength a woman receives from her femininity. The cage located around the hips accentuates this region of the body speaking to the idea of fertility which is key concept behind femininity. The cages also speak to the idea that woman is bound by her fertility and femininity. In many societies woman has been suppressed because her only purpose is thought to be that of a mother.

This garment design was generated in a familiar manner. I began by sourcing inspiration that displayed the use of open work; particularly images of sculpture, basketry and tribal clothing. The images of apparel worn by African tribesman led me to the idea of designing a garment based on femininity and fertility. I sketched ideas for a large variety of designs, which I whittled down to one. I refined this design by sketching multiple variations and narrowing it down until I came up with my final design. I began to drape my design and through experimentation with materials and techniques I refined and altered it even further. Once my experimentation with materials was complete I constructed the final garment.

The main materials utilized for this garment are 100% cotton upholstery fabric and vinyl. These two materials are used in combination to create the main body of the dress. The 100% cotton upholstery fabric possesses a linear texture and constitutes the majority of the dress. The grain of the cotton fabric is alternated throughout the garment utilizing the materials textural quality to create subtle contrast. The vinyl is mainly used to create a section of openwork at the midsection of the dress. To achieve this openwork section, vinyl strips of varying width and length were cut and sewn together in a predetermined pattern and then attached to the bust and skirt portions of the dress. To accent the section of open work the vinyl is placed at strategic points throughout other portions of the garment. The entire garment was constructed using 100% cotton thread. A metal zipper located at the center back is the main closure. Page 1 of 2

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The cage-like structures located over the shoulders and hips are made of black floral wire and 100% polyester boning. The floral wire was attached to the boning via zigzag stitch which allowed for the flexible boning to be freely sculpted. A combination of hand and machine stitching were utilized in order to adhere the shoulder cages to the garment. The hip cage is a belt like structure that is completely detachable from the dress. A series of hook-n-eyes are located at the center front of the hip cage act as its closure.

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Transparent Allusions

Cassandra Clayton, Dr. Barbara Trout (Instructor), University of Nebraska-Lincoln, USA

Keywords: Design, Experimental, Hand Dyed

Traditions are often binding. They can dictate what we do, say, eat, and, perhaps most significantly, wear. The creation of Transparent Allusions is based upon the notion of breaking traditions. Original fabric was used to create a garment that consciously breaks traditions found in culture, society, or even personal life. The fabric design was achieved by taking the base elements of historical surface design techniques and reinterpreting them in an unconventional manner. The garment design was created with the goal of breaking personal traditions regarding my design aesthetic.

The process for this garment began with the fabric. Historical surface design techniques of Trapunto and Yuzen Zome were researched. The key elements of these processes were analyzed and reinterpreted to create a surface design rooted in history but reinterpreted to make it more modern. Yuzen Zome is the ancient Japanese tradition of creating images and patterns on fabric by hand painting starch resist paste to a fabric and then dyeing it. The traditional images created using this technique are often floral in nature or depict symbols and creatures. The images are clearly defined and crisp in appearance. I broke this tradition by finding new ways to apply the starch resist paste to the fabric. String, forks, and spatulas were utilized to apply the starch in a fashion that created overall patterns. These patterns consisted of linear elements that did not adhere to the classical motifs of flora and fauna. Trapunto is a quilting technique that produces an embossed design by stitching two layers of fabric together, outlining the desired design/motif in stitches, and padding it with such things as batting, yarn, or cord. Traditionally the designs created by Trapunto are floral in nature. I broke this tradition by stuffing simple rows of channel stitching, and by stuffing them with an unexpected material, fishing line.

The garment design was generated in a manner quite unfamiliar to me. My traditional design process involves the following steps: I begin by sourcing inspiration (movies, photography, art work etc.), I sketch multiple designs, I refine the sketches and narrow them down until I have a final design, and then produce the actual garment. This garment was generated in a much more organic fashion. I simply Page 1 of 2

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began by cutting large circles out of muslin and experimenting with how these shapes lie on the body. Hours of experimentation on the dress form led to the final garment design. This type of design process was new and exciting and generated a design that is unlike any I had created before.

The main fabric for this garment is 100% silk organza. The fabric was starch resisted using a solution of equal parts potato flour and boiling water. The starch resist paste was applied to six yards of fabric using 100% cotton string and a plastic fork. The string was dipped in the starch resist paste laid down on the fabric in a series of lines and pressed down with a plastic fork. The starch resist paste was applied to the second six yards of fabric using a plastic spatula. The long thin side of the spatula was dipped into the starch resist paste and applied to the fabric in a random crisscrossing pattern. The starch resist was allowed to dry for 24 hours. The fabric was dyed using a solution of the following fiber reactive dyes: fuchsia, royal blue, and citrus yellow. The dye was thickened using sodium alginate and applied by hand. The fabric was covered in plastic sheeting and the dye was allowed to batch fix for eight hours. Once the batch fixing process was complete the fabric was rinsed clean and allowed to dry.

The main body of the garment was constructed with the hand dyed silk organza. The garment consists of three layers: the top layer is hand dyed silk organza with the starch resisted lined pattern, the middle layer is hand dyed silk organza with the starch resisted crisscrossing pattern, and the innermost layer is a 100% polyester nude knit modesty layer. 100% cotton thread was used to construct the garment. Key layers of the garment are stitched together using channel stitching. Of these channel stitched pieces select pieces are stuffed with 100% nylon 30 pound fishing line to make them project from the body. The garment has no closers and slides on to the body over the head.

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Montreal, Quebec Canada 2010 Proceedings

Light up the Night

Andrew Crockett, Department of Fashion Design and Merchandising

Virginia Commonwealth University, Richmond, VA

Sportswear, digital, textile

Light up the Night was created for professor Kristin Caskey’s fall 2009 class; Personal Space, My-Space, Outer Space. This course required students to research the works of Lucy and Jorge Orta, artist/designers working with clothing as metaphor and a tool for social change. Students were to research and develop their own concepts of personal space, in garment form for the course.

Light up the Night was inspired by the need for self-contained illumination in the late-night club culture of the urban DJ. A cropped jacket morphs into a hooded backpack with an almost insect

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like structure. This creates a self contained and protective environment with LED lights framing the hood. A second skin tank top of nylon lycra tops a slim jean with insets of printed twill. Images of city illumination shot at night create a print which was strategically placed on the backpack/jacket and jeans. The final ensemble projects a fashionable and self-reliant image of a young woman, in control of her own personal space yet active in her cultural scene.

After viewing work and creating an artist presentation, students sketched out their design concepts in croquis form, these rough ideas were critiqued and each student created six final illustrations for a sketch critique. After the sketch critique a muslin was began and work started on print creation. The Lectra Systems U4ia program was used for all repeat and panel prints created in the course. Muslins were fit and corrections were made during a muslin critique on live models and print mock-ups were shown to the critic for final selection. Students then prepared digital files for printing on the departments Mimaki TX2 fabric printer, steamed and finished their fabrics. Fabric was cut, basted and a final fabric critique was held.

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Montreal, Quebec Canada 2010 Proceedings

Shiver 1

Lucy E Dunne, University of Minnesota

Keywords: technology, design, kinetic

Shiver 1 and 2 are an exploration of subtle haptic and kinetic effects in two responsive garments. Each garment responds to touch by reacting with a visible and perceptible tactile vibration response. The objective of these designs is to explore interactive, responsive aesthetic technologies in a subtle way, as a medium or element of the design rather than the feature attraction. These effects can be almost imperceptible. They do not demand attention, but add a layer of richness to the garment interaction (as would a luxurious texture or unusual color), both for the viewer and for the wearer.

Shiver 1 was patterned by draping on the bias, and is embellished with an array of flowers. The stamen of each flower is a whisker-type touch sensor typically used in robotics. When touched, the flowers respond with a light buzzing vibration that causes the stamens and petals to quiver.

The dress is patterned and assembled using traditional apparel techniques. The chiffon petals of the flowers are hand-stitched and edged with beading elastic to lend stiffness to each petal, helping to transmit the vibration through the petal. The electronic component is a composed of a simple circuit in which the touch sensor serves as a switch, controlling power to a small vibrating pager motor. The garment is powered by a 3.3V lithium- polymer battery pack.

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Shiver 2

Lucy E Dunne, University of Minnesota

Keywords: technology, design, kinetic

Shiver 2 was patterned by draping on the form, and features a skirt of ostrich feather fringe. Embedded in the fringe is an array of suspended vibrating pager motors (one of which is depicted in the detail image), and embedded in the left sleeve is an array of light- sensitive resistors. When the sleeve is stroked, the garment responds with a subtle shiver that propagates diagonally down the front of the skirt.

The dress is patterned and assembled using traditional apparel techniques. The light-dependent resistors that serve as touch sensors in the sleeve are hand-sewn in using conductive thread traces. These attach to an Arduino Pro Mini microcontroller board hidden in the waistband that regulates the vibrating response. Pancake-style pager motors suspended in the skirt create the dynamic kinetic response. The garment is powered by a 5-V lithium-polymer battery pack.

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Montreal, Quebec Canada 2010 Proceedings

In Knots

Rachel J. Eike, Oklahoma State University, USA

Keywords: Macramé, batik, stencil

In Knots cocktail dress inspiration came from life experiences. At times when I’ve worked long hours and toiled over details to make my superior/professor/spouse pleased - only to have my efforts go unnoticed or overlooked – I feel pulled in opposite directions. These feelings leave knots in my stomach, knots in my muscles, and knots in my heart from being taken for granted and neglected.

The overall purpose of this piece was to create a unique dress for a woman who had devoted herself to others and was finally going to have a moment for her – to be noticed, and fully enjoy the attention that she deserves.

The design process of In Knots started with macramé – incorporated into the textile batik print and physically holding the dress together to form a wearable apparel piece. Flat double knots, knots with loops, half knots, collecting knots and slanting bar knots from cording and dyed yarns were used throughout the macramé knotting to create the neckline and back of the dress.

The textile batik print was created using images of different macramé knots. These images were transferred onto cotton fabric; wax painted and dipped in four different dyes sessions. Vinyl bodice side panels and belt were painted using the leather painting technique.

Stenciling was incorporated into the dress body to allow for parts of the under-dress to show through. These “holes” in the dress from the stenciling and macramé represent the holes of hurt that the wearer has personally experienced – they are a part of her that she wears proudly and uses them to persevere forward.

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Montreal, Quebec Canada 2010 Proceedings

Horizontal Noise

Katherine Elks, Cornell University, USA

Keywords: Design, suit, longevity, ultrasonic

My customer is a fashionable, sophisticated woman who enjoys innovative design, but also sees value in high quality pieces and longevity in design. I designed this outfit to be a functional piece, not only a work of art, and as separates so it can be worn by a customer many ways.

My source of inspiration for this piece was a classic men’s suit. I created a new silhouette for a woman’s suit by emphasizing the waist, elongating the peplum and cropping the pant. I incorporated basic suit features such as a structured shoulder, straight sleeves, a v-neck and I used a classic and timeless color -- black.

I developed a technique using an ultrasonic bonding machine, the Sonobond, in order to create a unique fabric by manipulating layers of fabrics. I first created about 25 samples using different pattern wheels on the machine and different kinds of fabrics. I then chose the sample that was the best texture, color, and structure for my design. I created a series of panels using a machine wheel with a wave pattern, first layering nude tone Polyester satin with black Polyester organza, and then bonding both to black Polyester crepe for the body of the jacket. The sleeve panels consist of only the crepe and organza bonded together to create sheer sections above and below the elbow. The play between the areas that are layered with nude satin, and those with only the organza layer provide a contrast between opaque and sheer. I also referenced this look in the pant by inserting a sheer organza panel down the side of the leg. The use of the Sonobond technology to create texture and interest in the plain black fabric enhances my design. The unique fabric combinations that I designed for this outfit contribute to the play of masculine and feminine elements in the design.

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Montreal, Quebec Canada 2010 Proceedings

Novel Raincoat with Loose Pant and Hip Bag

Elizabeth Esponnette, Cornell University, USA

Keywords: Design, jacket, functional, backpacking

Purpose of piece: The target market for this piece is the outdoor woman who wants protection from the rain with a bit of style. The jacket is extremely functional and is designed specifically for backpacking. The fabric is breathable and waterproof, providing comfort when the wearer is active in any kind of precipitation. The pants are stretchy, comfortable combed cotton jersey knit and feature a low crotch and baggy fit for active comfort. The market for this is wide, considering its versatility. It is stylish and unique enough to be worn in a rainstorm in the city, but practical for use on the trail in the mountains. It is attractive for women who are already shopping at outdoor wear stores like Patagonia, Columbia, and The North Face. I think that this piece could bring spunk to outdoor activities, but more importantly utility and function to everyday fashion.

The design process: The source of inspiration for this outfit is the active woman who wants a garment created for women, with a curvy womanly figure and a playful shape. I am inspired by this woman because of the strength that she embodies. I feel that people who challenge themselves, mentally and physically, deserve to be prepared for their undertakings. They do not, however, need to lack aesthetic satisfaction in the presence of function. The two can be created together with an effective design process.

My thought process involved, first, the concept of a raincoat: a coat made of waterproof material to protect from the rain. I incorporated the silhouette that I wanted to achieve on the model: a roomy raglan-inspired sleeve, an articulated elbow cut, an asymmetrical zipper, a cinched hood that can be folded into itself, and a drawstring waist for adjustability. I experimented with various Page 1 of 2

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sleeve shapes, eventually designing for comfort in the rain. This design promotes the concentration of warm air within the jacket, preventing the body from cooling off too much. To construct the jacket, I assembled and topstitched the bodice pieces. Then I added the hood and its self-containing collar. The drawstrings and zipper were then put in with finishing details. The construction process was difficult because of the number of patterns and their novel shapes. I was able to manage these pieces with careful labeling and notching. The pants were assembled using a mock safety stitch on the surger, and an elastic waistband in a casing.

The techniques used to create the piece: I included a lot of reinforcing topstitching on the jacket, as well as options for adjustability (hip, sleeve cuff, hood). I manipulated a sloper to achieve the silhouette, keeping true to the widely-accepted raincoat shape, but giving it a new, arguably more confident look.

The materials used: Nylon 1x1 plain weave fabric boded to a Gore-Tex® layer, nylon zipper and plastic cord stoppers, elastic bungee cord. These materials were used because they are functional: the Gore-Tex laminated fabric is both breathable and waterproof, desired traits for an activewear raincoat. The hardware pieces are nylon and plastic because they resist sweat and precipitation (they do not rust).

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Montreal, Quebec Canada 2010 Proceedings

Lacey Night

Arielle Flenniken, Central Washington University, Ellensburg, WA Professor Andrea Eklund Co-Designer & Sponsor, Central Washington University, Ellensburg, WA

Elegant, modern, sophisticated, lace, sheer

After digging through an old chest at my parents’ house I came across a beautiful bundle of fabric. The fabric was composed of sheer stripes mixed with solid black stripes. There was about five yards, just enough to make a beautiful evening gown. I began looking online for images to inspire my design. One of my main inspiration concepts for Lacey Night is box pleats, which are all around the skirt portion of the dress. This helps add in more fabric on the top sheer layer to give it a fuller look. I was strongly attracted to images of women wearing a sheer overlay with a solid fabric underneath. It adds another dimension to the dress, and gives a flowing sensual feel when the wearer walks. Images showing women in classy, elegant, dark gowns helped with the design process.

After I selected images for inspiration I began sketching many different ideas. Immediately after choosing my favorite idea I draped it on a body form. The next step in the design process would be to make paper patterns for each draped piece. I then made a sample and fit my model.

Lacey Night is a sophisticated, elegant, classy, and aesthetically appealing gown. It is floor length with a small train. The appliqué at the top of the dress was originally a rectangle of lace. My model wore the gown as I placed the lace where I wanted it to lay. I then cut around the lace so that if formed to my models chest, shoulders, and back. On the back of the dress I cut out sections of the lace to give it a more visual appeal to viewers. Each flap of the lace was stitched to another to avoid pieces folding over. I wanted to make sure the lace laid flat on her skin. After fitting the lace to the dress on my model, I then hand stitched the lace to the sheer fabric so that it would be stationary. The dress itself is very symmetrical, so I wanted the lace to asymmetric. There is more lace on the front bodice then on the back, because I wanted it to be noticeable to the viewer. The lace appliqué is also a light purple and black to help with the contrast against the all black gown.

Construction of this gown started by making two separate pieces, the top sheer layer and the black lining, they were constructed separately. I attached them at the top of the bodice, as well as hand stitched the two layers together at the zipper. The lining is sewn together using a French seam to prevent fraying. The invisible zipper is located in the back of the gown and is hand stitched to the lining. Page 1 of 1

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A Circular Sensation

Carlee Fowler, North Carolina State University, USA

Keywords: Design, Circles, Sophistication

After intensive target market research was completed, a dress was designed using CAD programs Adobe Illustrator and Gerber. The intention of the dress was to design something that was functional and fashionable for a sophisticated woman, also to enhance the curvature of the wearer’s body. The mass of circles on the top of the garment accentuate the bust, and the line extending downward creates a slimming effect.

The pattern was designed on Gerber, altered from a basic missy block. After the pattern was completed, it was sent to the cutting machine, for the basic patterns of the dress to be cut. 250+ circles were needed for the dress and were cut by hand, finishing the edges with a gel that helps fabric from fraying. The shoulders where sewn together and then the circles were strategically placed on the dress for the desired effect. Each circle was sewn with one single line straight down the middle, so the two halves were left free to lift. Angling each circle different from the ones next to it, forced the circles to lift achieving the necessary movement in the garment.

After the shell of the garment was completed, circles were added and removed to create the final effect. An invisible zipper was sewn into the right side, and the garment was hemmed accordingly.

The dress was complete using standard sewing construction, with the use of darts to form shape under the bust. Dr. Cindy Istook is my sponsor.

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Montreal, Quebec Canada 2010 Proceedings

Pele’s Beauty—Goddess of Fire

Jennifer Fukino, University of Hawai`i, Mānoa

Keywords: Discharge, Hawaiian, Pleating

Pele, the Hawaiian goddess of fire or also known as the volcano goddess, is volatile and passionate. Her wrath, volcanic eruptions and fiery lava, is one to be feared but also appreciated because through her destruction she shapes the land. Pele’s Beauty was meant to be the inverse to my collection, Born Identity. My collection expresses the ferocity and rawness of my Hawaiian culture and the structure within my Japanese culture. The design is intended to communicate the harmony between dark and light, yin and yang.

I used a 100% cotton sheet for my fabrics so that I could make a voluminous shirt with minimal seaming. I began by sketching various formations that Madam Pele would create as she creates the land. I examined the natural world of Hawai`i, including lava formations and the red/brown clay unique to the land. I wanted the surface to depict the (illusion) of roughness.

I created the bodice front by using pleating with Shark’s Teeth technique. The illusion of a rough surface, to symbolize the hardened lava rock was created by discharge; spraying bleach on the brown fabric through a bottle. Tulle and organza were dyed and pleated and used to give volume to the three tiers. The formation of the dress and its shape was created using block-pattern methods.

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The Awakening Elizabeth Geisler, University of Delaware, USA Key Words: Transformable, Couture This creation is a combination of couture craftsmanship, classic beauty, and transformable fashion. The dress functions as perfect cocktail attire, and also as a formal gown. The dress’s theme, The Awakening, comes from Kate Chopin’s literary masterpiece. The novel’s main theme is that of a woman who transforms into her true self and finds freedom. She finds that freedom through her exposure to the water. Just as the protagonist of the book transforms during her swims, a flower can only bloom if nourished with water, with freedom. The dress seen here goes through a transformation just like a flower. When folded up the dress appears to be budding, and is the more reserved of the two looks. When you pull the petals away, they cascade down into a burst of color, showing its true potential and personality.

The woman who wears this dress is no ordinary woman. She is the perfect composition of youthful energy and spontaneity, mixed with elegant taste and classic beauty. She is youthful, but not young, she is energetic, but not frenzied. She is thin, but not gaunt, with rounded soft features, nothing angular. Her skin is light, almost glowing from within. She takes fashion risks without ever going beyond the limits of taste and style. She would wear this in either style depending on the occasion and her mood. She may tuck in the petals so she could have more freedom to dance during a party.

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The entirety of the dress is constructed with Wool/Silk Satin in three shades. The dress pattern was created using draping techniques, and took several trials to achieve the perfect rounded petal shape. The transformational aspect occurs as each petal is tucked into an applied waistband, the petals can be gently pulled out of the waistband and they fall to floor length. Doing equal construction on both sides to every petal created the potential for transformation, the integrity of both sides of the petal need to be immaculate as well as identical. It was necessary to construct both sides the exact same so as to not lose the desired shape for each complete petal. Each skirt petal is constructed with curved darts, a gathered organza inner structure to provide volume, and is two-sided. The bodice petals are also two sided; they are sewn into the waistband and then tacked down by hand. All six skirt petals overlap to eliminate side seams, this creates a more rounded look on the body. To hide any closures, the petals overlap in the back and are fastened using hooks and eyes. The bodice extends to the natural waist and uses bonding to provide extra support for the weight of the garment; due to the structural nature of the garment, it is a heavier garment.

Originally, The Awakening was created to be featured in the annual Wilmington Flower Market. This is an annual event, which benefits local children’s charities. This year the Flower Market decided to have a fashion show. I was asked to create a dress to be featured in the show. Taking the idea of the flower market into consideration I created a the budding flower concept of transformability. I combined the idea of transformation with my love of couture quality craftsmanship and created a truly architectural piece.

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Main Street California Kira Grebel, University of Wisconsin- Stout, Menomonie, WI, USA Key Words: Street, sports, reversible, print

This outfit is intended to market towards a male who is inspired or participates in action sports. The outfit is made for comfort, style, and practicality. The shirt is reversible with screen prints that I made on both sides. The shorts are segmented and have details of red topstitches and shoe lace weaved on pockets. The closure of the shorts is a new and innovative design made with shoe laces which closes by looping within each other and then over the button.

My inspiration was from the lifestyle of surfers, skaters, and BMX bikers. By creating a slim fitting outfit with tailored features on the shorts the outfit results as casual and classy. The screen prints were designed from a long process of sketching and designing on Illustrator and Photoshop. I did an extensive research on backpacks and how to strap a skateboard on without it rubbing the backpack to shreds. I realized that the skateboard should be reverse; thereby avoiding abrasion and the backpack not being ruined.

The main technique used is flat pattern. The shirts were screen printed in a lab with inks, a screen, and other machines needed for screen printing. The backpack is skateboard backpack with foam in the back, sides, and straps for protection. The straps are shaped within an “x” with one buckle and this shape is designed to distribute weight on the back.

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The Goddess of Wood

Seung Yeon Ha, Researcher of Hanyang University, Seoul, Korea

Trees are a symbol of life. During the lifetime of a tree, it experiences, survives, and grows through rain, wind and many of nature’s other forces. After all, trees stay sturdy and keep their ground. Also, as a mother protects her child, so does a tree its earth. Because trees express both strength and femininity, they often give off a warm and peaceful feel along with various other impressions. To express these impressions in fashion design, unconventional materials have been used to convey the images of wood into wearable designs.

1. Design Purpose

With the strength and femininity of trees in mind, comforting and natural beauty have been translated. Also, through hand knitting techniques such as plain, purl, and yarn over with bamboo

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needles, the surface and various textures of wood are displayed. Loose and bulky textures reveal the natural sensibility in wood, while the thinly knit chest and sleeve areas emphasize femininity. To express strong and rough textures in wood, wool yarn and paper string were applied. In contrast, to show delicate femininity, silk, copper wire, fishing line and beads were incorporated into the garment. The colors used were mainly brown, with touches of white and soft pink.

2. Design Process

There are two distinct parts to this top. First, with the plain technique, silk copper wire and fishing line were used to create a simple silhouette with a see-through body. Second, wool yarn and paper string were knit with plain, purl and yarn over techniques repeatedly to show the volume and various textures of wood. The asymmetrical neckline, long sleeves and loose paper string pieces express a goddess-like elegance and confidence. The skirt has a slim and tight silhouette using the plain technique to emphasize femininity.

In conclusion, through using various materials, textures, and knitting techniques, both strength and femininity of trees are expressed in The Goddess of Wood. This garment achieves this with the use of unconventional materials which represent wood grains and trees itself.

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Fresh Picked and into the Dye Pot

Sherry J. Haar, Kansas State University, USA

Keywords: natural dye, quilt, inkjet, printing

The inspiration for this min-quilt was my dye garden and the beautiful colors that are derived from the plants. I keep a photo journal of the life cycle of the dye plants and used these images in the design. Each plant pattern is printed on and surrounded by fabric dyed from that particular plant. The plant names are printed on the quilt binding.

Fabrics were pre-mordanted and dyed from plants grown in my dye garden, including marigolds, purple basil, indigo, cosmos, coreopsis, coneflower, weld, and black hollyhock. Dyeing methods included simmering, solar and decomposition dyeing.

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Photographs of the plants were manipulated with Adobe software to create custom patterns and then printed on fabric. The fabrics were stabilized with freezer paper and printed using an inkjet printer. The border fabric was printed with the dye plant names and title of the piece.

Experimentation with layout resulted in circles representative of a dye pot. The fabric prints were embellished with free-motion stitching using cotton embroidery and cotton/polyester sewing thread. Once assembled as a mini-quilt the layers were free-motion quilted with straight and stippling stitches.

Fabrics used were 100% cotton print cloth, 100% organic cotton sueded muslin, and 60% hemp/40% silk faille. The finished dimensions are 12” x 12”.

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Organic Series No. 4

Sherry J. Haar, Kansas State University, USA

Keywords: sustainable, design, natural, dye

Sustainable fashion is part of the growing design philosophy of sustainability, with goals to create systems which can be supported indefinitely in terms of environmentalism, economics, and social responsibility (United Nations General Assembly, 2005). Organic Series No 4 supports environmental goals of sustainability by harvesting and solar dyeing with natural dyestuffs and designing with efficient use of fabric. Growing natural dyestuffs is beneficial to the environment, provides an alternative to petro-chemical based dyes, and supports the sustainable tenets of slow design, small scale production, and regional expertise (Fletcher, 2008). Information on dyeing solid colors with flowers is available; however, there is less information regarding multi-colored effects from dyeing with flowers. Therefore, the focus of Organic Series No. 4 was to explore a physical resist technique to create a multi-colored surface design from flowers.

Physical resists prevent the dye from penetrating the fabric through means of some type of physical pressure. The means of resist used for Organic Series No. 4 was twisting the fabric and securing with bands. The design process for Organic Series No. 4 included growing the flowers, pre-mordanting the fabric, resisting and solar dyeing the fabric, and creating a wearable garment that supported the surface design of the fabric.

Flowers were selected from my dye garden and grouped together by the color that is released as established in prior experiments. The four color groups were orange from orange cosmos; violet from black hollyhock, wine day lilies, and red hibiscus; yellow from yellow cosmos; and blue from black pansy and blue lobelia. Flowers were placed on one-half of damp, loosely pleated, pre-mordanted silk crepe de chine. The remaining fabric was folded over the flowers, loosely pleated and twisted, and secured loosely with rubber bands to separate the four color groups. The bundle was sprayed with water, covered with opaque plastic, and placed in a sunny location for solar dyeing. After four days the bundle was removed from the plastic and allowed to dry in a shaded location. Once dry the bands were removed, the decomposed flowers were removed, and the fabric was allowed to cure for six weeks prior to washing. The resulting surface design was striations of variegated color.

The garment band color was achieved by solar dyeing silk dupioni in an exhaust bath of black hollyhocks and wine daylilies. The silk was left in the bath for three days, cured for six weeks, and washed.

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The striated surface design influenced the bias drape of the gown. The bias drape allowed the striations to move down and around the body. The angle and movement of the color led to the one shoulder band design. Fabric efficiency was maintained by utilizing the full piece of fabric by piecing the draped and wrapped design in the back upper left section and front lower right hem. An invisible zipper was inserted into an angled seam. Strap hardware was recycled from an old bra and used to manage the gown straps. A draped slit at side back allows for ease of walking. The gown is lined with un-dyed silk crepe de chine.

References

Fletcher, K. (2008). Sustainable fashion and textiles: Design journeys. London and Sterling, VA: Earthscan. United Nations General Assembly (2005, September 15). 2005 United Nations World Summit Outcome, Item 48, p. 12. Retrieved September 21, 2008 from http://www.who.int/hiv/universalaccess2010/worldsummit.pdf

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Indio Cross Hatch

Kim H. Hahn, University of Wisconsin-Stout, USA

Key words: recycled, denim, hand-woven

The purpose of this design was to create a garment that incorporates both the classic and the sophisticated looks of woven products by using recycled denim jeans. The inspirations for this outfit are the woven designs that you often see in non-apparel items such as furniture, bags, belts and shoes. Recycled denim jeans were used in this design to explore an innovative and modern way of prolonging the life of post consumer recycled clothing.

First six pairs of post consumers’ jeans were cut every ½” into thin denim strips, so they could be woven together. Then, draping and flat pattern techniques were used to create pattern pieces for the jacket and the wrap skirt. The pattern pieces for the jacket and skirt were mainly rectangular in shape and then arranged to best to emphasize the design of the woven patterns. After each of the jacket and skirt pattern pieces was hand-woven, they then sewn together along with a fabric lining. The waistband for the wrap skirt was taken from one of the denim jeans. In an effort to give the piece an interesting textured look, the reverse-side of the denim was used as the main surface for this design.

Pattern pieces for the jacket and skirt were developed using draping and flat pattern manipulation techniques. All the fabric panels were made by hand-weaving denim strips from post consumers recycled denims.

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Midnight Raven

Tamara Hall, Washington State University, Pullman, WA USA

Sponsor: Carol Salusso, Washington State University, Pullman, WA USA

Key words: Piecing, Feathers, Denim

This design was inspired by the color, form and power of a bird’s wings. The design was targeted towards women who like to hit the street in style, who want to look sexy, yet still have an edge. The design uses both asymmetrical and symmetrical details to imitate how feathers lay across a bird’s body. The design consists of a fitted black halter top worn with a pair of denim jeans. The collar piece was added to create fierceness to this unique look. Feathers were added to show the inspiration, while colors were chosen based on the darkness of the night.

Crepe back satin was interfaced with a lightweight tricot to create stability and keep seams straight. A snug fit in the top and pants was used to accentuate a sexy feminine silhouette. The pocket details were highlighted with stitches and sequins to mimic a bird’s wing. A heavyweight interfacing was used for the top so it could stand away from the body creating a shadow effect. Also, when the model walks the top appears to look as if she is gliding as a bird.

Piecing was used to mold the top creating an asymmetrical yet in some places symmetrical design. The top and lining were draped on a dress form and then fitted on the model’s body. The pants were created using Modaris computer aided pattern making system and then fitted on the model. Crepe back satin was turned into a cord and then woven through a chain to create the halter strap. Sequins were ironed on the pockets to add a shimmer effect. Different materials

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such as crepe back satin, cotton denim, interfacing, lining, sequins, and chains were used throughout this process.

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Soaring into the Night

Tamara Hall, Washington State University, Pullman, WA USA

Sponsor: Carol Salusso, Washington State University, Pullman, WA USA

Key words: Piecing, Feathers, Chains

This design was inspired by the beauty of a bird’s wing. Different types of birds have unique colors and feathers that comprise their elegant covering. The design is targeted towards women who want to look classy, as well as fierce. A sophisticated and sexy look was created with an edgy style. Inspiration came from a bird’s feather and the asymmetrical way feathers lay on the body. The piecing and feathers lay on the body in a flattering way showing off the female silhouette. Feathers lye close to the body, as does the design on the model. To create an innovate design, magnets were added so the straps can be worn in multiple ways, even as an accessory.

The texture of the feathers was used throughout this design copying a bird’s appearance. Piecing the top at different angles was utilized to represent the look of feathers overlapping one another. The feathers were hand dyed and texturized with a blow dryer to create more volume. The chain had material woven throughout and magnets were attached on each end. The dress was designed so it could be strapless or over one shoulder, two, crisscrossed, etc. The design was created through sketching, draping, flat patterning, and experimentation. The bottom part of the dress was created on Modaris computer aided pattern making system. The top was draped on a dress form and then fitted on the fit

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model. Materials included crepe back satin, interfacing, polyester lining, chains, magnets, ostrich feathers, and Rit dye.

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Sanguine

Susan L. Hannel, University of Rhode Island, USA

Keywords: frugality, functionality, draping, piping

The purpose of this project was threefold. First, I wanted to experiment with curvilinear seams in a draped garment. The seams were meant to emphasize the rounded shapes of the female body. Secondly, I sought to create a wearable and beautiful garment that was also structurally interesting. My personal design philosophy is that a garment design must make sense for a breathing, moving human body. It must be more that a flash of inspiration and beautiful-it must function. The final goal of the project was to use fabrics and trims I already owned. The only purchased items were cording for piping and a zipper. The title of the project refers to both its red color and my cheerful optimism that I could make the design function with fabrics on hand.

The seam lines were organized on a dress form and then all pattern pieces were draped in cotton muslin. The design was originally intended for rigid, contrasting fabrics. In order to use fabrics I already owned, specifically a printed silk charmeuse, I created rigidity by underlining each piece with silk gazar. Pieces that extended past the hip were underlined only to the hipline in order to retain the soft hand of the charmeuse below the hip and keep the hemline fluid.

Because the fabric was printed and the curvilinear seams would be lost in the print detail, I applied piping to most of the seams. The piping was made from bias strips of silk chiffon over 2-ply rayon cording. Piping was applied as the pieces were sewn together in order to create the longest possible strips of piping. No piping lengths were pieced. The garment pieces were put together in order to create the most attractive seamline intersections.

In order to capitalize on the fluidity of the charmeuse, godets were inserted into all but one of the princess seams. The left front seam has no godet in order to emphasize the asymmetry of the bodice area and make the hemline sweep less balanced. Glass antique buttons and button loops made from bias strips of the silk charmeuse were used to fasten the bodice. An invisible zipper is inserted into the left front skirt princess seam.

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Thai Orchid

Lisa L. Hayes, Drexel University, Philadelphia, PA

Keywords: Design, silk, print My design “Thai Orchid” was created as part of a project initiated by the Queen Sirikit Institute of Sericulture in Bangkok, Thailand. As one of three designers who participated in the international competition last year, I was invited to design a piece for presentation at this year’s ASEAN (Association of Southeast Asian Nations) conference. The silk, which was selected and sent to us for this project, included three different shades of lavender. Together we decided to exchange design concepts openly and share fabric so each designer’s piece would include all three shades of silk. We felt this would strengthen the presentation of our trio of designs at the conference. I received five yards of the dustiest shade of lavender for the main part of my design and a yard each of both the medium and brightest shades of silk for the rest. The silks are Peacock Standard which is the highest standard set by the Queen Sirikit Institute in Thailand. The hand is quite beautiful, and the natural variations only add to the overall beauty of the fabric. The color was my main inspiration for the design concept. The light iridescent color evoked a feminine feel and mirrored shades of lavender and lilac flowers starting to bloom in the garden outside. I decided to use floral motifs for surface interest on the garment. After sharing concepts with the other two designers, I realized I needed to create a modern silhouette. I decided to drape my design in the actual fabric with as few seams as possible to accomplish this. After draping, I created a sketch and then made the final pattern. I made the top from one piece of fabric, with the collar seamed on. The inside of the collar is made from the second shade of silk I received, and the skirt is made from one yard of the third shade. I decided to test various methods of stitching, printing and beading to bring the top and skirt together. First, I experimented with some wooden block prints I brought back from India. Secondly, I experimented with top stitching using metallic silver thread and tear away paper. After I covered the skirt, and printed the top with my favorite motifs, I beaded the skirt with a variety of beads including silver-lined and light lavender glass.

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I finished the design with a grey silk lining in the same quality. I used horse hair hand stitched to non fusible interlining inside the collar to make it stand. I hand stitched the zipper in and used the same metallic silver thread for back stitching inside the top and skirt. It was truly an enjoyable project; one that I wouldn’t have taken on had it not been for the invitation from the Queen Sirikit Institute of Sericulture. Throughout this project, I have been reminded of the opportunity for the use of 100% silk in contemporary garment design especially for dresses.

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Tree Dress Andrea Haynes, Delta State University, Cleveland, Mississippi, USA Keywords: Design, sustainability Purpose of Piece: The purpose of this project was to design a wearable art piece to represent environmental awareness. Specific objectives were to: (a) create a wearable art piece that could also be worn as a theatrical garment, (b) repurpose leaves that were holiday decorations, (c) illustrate unusual materials repurposed into wearable art, and (d) represent the “green” movement with a tree image.

Design Process: The discovery of the beautiful turquoise and green leaves, which were originally sold as holiday ornamentation, stimulated the design process. An awareness of the sustainability movement through repurposing of materials further prompted the design. The representation of a tree seemed a logical direction, and represented environmental efforts toward environmental awareness, or the “greening” of America.

Techniques: The floor length pleated skirt was draped, and provided a base for application of the leaves. Knife pleats were folded into the taffeta skirt fabric, extending them two inches above the waistline to form a ruched effect. The bodice front and back were draped through strategic placement of a few large leaves. Coordinating jacquard ribbon was stitched to the inside of the skirt at the waistline, forming support for the pleated waistline. The suede decorative leaves were machine stitched together in columns, with the leaf columns then stitched to the skirt at the waistline. Bodice leaves were stitched together. The bodice fastens with Velcro strips on the left.

Materials: The “tree” garment consists of faux suede glitter-edged decorative leaves in graduated sizes, stitched onto an iridescent green acetate taffeta skirt. Turquoise/gold jacquard polyester ribbon was applied to the inside of the waistline to form a stay. The skirt pleats were stitched to the

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ribbon stay. The bodice was created from large turquoise and green leaves. A headpiece was shaped from a large green leaf.

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Granny Squares

Cara Hodge, Department of Fashion Design and Merchandising

Virginia Commonwealth University, Richmond, VA

Art, crochet, digital, textile

Granny Squares made for the Patterned Object class at VCU arts fashion. The design brief for the course was for students to research an artist or collection of work at the Virginia Museum of Fine Arts (VMFA) in Richmond, VA. The final designs were to be individual responses to an artist or methodology of art-making using student created print designs and digitally printed fabrics. Each final project was to have at least 70% of the textile used designed and finished by students. After viewing work and creating an artist presentation, students sketched out their design concepts in croquis form, these rough ideas were critiqued and each student created six final illustrations for a sketch critique. After the sketch critique a muslin was began and work started on print creation. The Lectra Systems U4ia program was used for all repeat and panel prints created in the course. Muslins were fit and corrections were made during a muslin critique on live models and print mock-ups were shown to the critic for final selection. Students then prepared digital files for printing on the departments Mimaki TX2 fabric printer, steamed and finished their fabrics. Fabric was cut, basted and a final fabric critique was held.

Assistant curator of contemporary art at the VMFA, Emily Smith acted as a critic for the course.

Granny Squares was inspired by contemporary art and thrift store culture. The artists that were researched for this project were Yayoi Kusama and Mike Kelly. Kusama’s work was particularly inspiring as she creates entire installations which include painting, clothes, stuffed soft sculpture and other ephemera. Mike Kelly’s work comes to mind for his use of co-opted stuffed animals and hand crochet afghans.. The designer regularly re-fashions thrift store finds and lately has been wearing a granny square cardigan which must have taken someone many long hours to crochet. This garment nods at art made from found items (Mike Kelly) combined with the handmade “love hours” appeal of granny squares. The design chosen for production was an amalgamation of actual hand crochet with sculptural “Granny Square” pillows, stuffed and

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layered one atop the other. The designer crocheted many granny squares and finger knitted many yards of yarn to create swatches, which could be scanned into the U4ia program. From these scans individual panels of arranged yarns were manipulated to achieve the desired radiating effect of a crocheted granny square. Each color of yarn was created separately and the patterns were scaled so that final panels of multiple sizes were available. The dress was created by constructing a princess dress which was fully lined to support the weight of the pillows. The crochet portion of the dress was created from one large panel of hand crochet engineered to wrap around the torso. The individual pillows were cut and a backing of plain white cotton sheeting was used to form a stuff-able shape. The pillows were stuffed and “draped” over the lining to ascertain the best balance for the piece. The pillows and crochet were then securely tacked to the lining and the piece was finished.

While Granny Squares does not lend itself to everyday usage it is superbly functional as a wearable art piece and a thoughtful and individual designers response to contemporary art- making. Designer Cara Hodge is a skilled maker, crafter, and fashion designer in addition to being a professional clown with Dr Patch Adams and the Gesundheit Institute.

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Le bon vent

Pei-Hua Hsiao, National Taiwan Normal University, Taipei, Taiwan

Keywords: wind, Cross Stitch, Skidproof mat, dynamic

The moment of wind blowing which I captured, is the moment of jumping and skirt floating in air. The wind penetrates and purifies heart. When you feel it carefully, the wind will blow. Henri Cartier-Bresson suggested that camera can capture the best moment. I hope clothes can do so. But cloths are not still photographs. So the idea of moment turned into the extension of time. The feeling of blowing wind extends endlessly .The work gives a different aspect of wind and creates new looks when wearer moves. The shape of skirt and collar express the blowing wind. Patterns imitate the variation of clouds with gradient.

I tried Skidproof mat to create dynamic effect. To capture floating effect without making it too stiff, I used transparent slides and boning as supports. Following the shape in body, I made draping and pattern design right on the dummy. And I tried various material and embroidery stitches before finishing the patterns

Due to the Skidproof mat, every work was done by hand stitching. Patterns were cross stitched because cross stitch is more flexible and good at coverage when deal with patterns. The work which takes most of time is paying attention to distribution of gradient and harmony of patterns and seam in order to keep integrity of the work. Like making a fine-art piece, every clothes is unique.

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Wrapped Coat Dress

Rachelle Husch

Illinois State University, Normal, IL 61790 USA

Key words: Sophisticated, Flirty, Versatile

Purpose of the Piece The purpose of this piece was to create an edgy but still flirty garment that flatters the body. This dress can be worn out in the town, to work, or for after work parties. It has a simple silhouette with interest added by the lapels.

Design Process This dress was designed for the sophisticated women who wanted an alternate to the business suit. The bodice was created through flat pattern and by altering the pattern of a notched collar jacket. The skirt used six triangular shaped pieces cut on the bias that were draped on a miniature model. The wrap style with an off-center zipper added some extra flair that was balanced off with an oversized lapel.

Technique Used The bodice was created using flat pattern and the skirt of the dress by draping. I used two fabrics (including the lining). Each lapel of the skirt was sewn to the lining first and then attached to the bodice. The dress uses button closures and a zipper.

Materials Used 100% polyester suiting, chiffon lining, black zipper, black buttons

Date Completed: April 2010

Measurements of the piece: Bust 34” Waist 26” Hip 35”

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Sunset on the Water

Erin Irick, Oklahoma State University, USA

Keywords: Batik, Rug Hooking, Tie-Dye

The purpose of this design was to express the designer’s inspiration of a sunset reflecting on a body of water. The dress was divided up into nine sections front and back in order to simulate the layers of a sunset and how it reflects on a body of water. A combination of tie-dye, batik and rug-hooking techniques were used. For the tie-dyed sections, a rubber band resist method was used in shades of orange and yellow to represent the sunlight coming down from the sky. For the batik pieces, wax was painted onto cotton fabric in designs that represent the rays of the sun, as well as the sun shimmering off of the water. Dye was then painted onto the fabric in shades of yellow, orange, red and purple and allowed to dry. Then wax was painted on the entire piece of fabric, put in the freezer and crackled. Teal dye was then applied into the cracks and the fabric was dry cleaned to remove the wax. For the rest of the pieces, the decorative technique of rug- hooking was used. The rug-hooking was intended to simulate the waves of the water as they intermingled with the reflection of the sunset. Cotton and polyester satin fabric was tie-dyed with shades of blue and green and this fabric was cut into one-inch strips. These strips were then rug-hooked into a loose-weave linen fabric. The tie-dyeing and batik were completed prior to construction and the rug-hooking was completed after construction. After sewing the multiple pieces together, a side zipper was inserted and a tulle underskirt was attached. The dress was finished with binding at the neckline and armhole and the skirt of the dress was hemmed. This garment shows the designer’s inspiration of a sunset being reflected on a body of water. Represented are the waves, the rich colors of the sunset and the sky.

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Sculpture to Wear

Kinor Jiang, Hong Kong Polytechnic University, Hong Kong

Diane Sparks, Colorado State University, USA

Textile Design, Shibori, Couture

Purpose: The purpose in this design was to create a metallic textile sculptural coat and dress ensemble that could be worn to an art event in an urban environment such as Tokyo, New York, Paris, Sydney or Hong Kong. Much like sculpture, depending on the wearer’s stance the architectural coat exhibits different folds and shapes creating visual interest from any vantage point. Texture, form and subtle shifts in value are the primary design elements used to achieve visual impact. An additional concern was to create garment shapes that could be easily folded and packed for travel without wrinkling. The pleated coat and dress were designed for high dramatic visual impact and to fit multiple body sizes, as both garments have the capacity to expand if necessary.

Montreal, Quebec Canada 2010 Proceedings

Process: Beyond sculptural aesthetics, the primary concern of the designers was to create wearable art garments with minimal seams and maximum flexibility in potential for fitting multiple body types. Patterns for both garments were draped using traditional methods. In keeping with minimalism and simplicity, neither garment is lined. Hand and machine garment assembly techniques were combined to create both garments.

Techniques: The silver metallic side of the double-cloth coat fabric was etched with an acid substance to change the silver color to black in selected areas. The etching substance was applied using a stencil to determine the shapes that became blackened. Following the surface treatment, the coat fabric was commercially pleated, then assembled. Fabric for the dress was hand-dyed and pleated using a variation of traditional Arashi Shibori technique.

Materials: Fabric in the coat is a double-weave stainless steel and cotton exterior with cotton velvet weave interior. Dress fabric is hand-dyed, hand-pleated black silk.

Montreal, Quebec Canada 2010 Proceedings

Railways

Katey Kaiser, University Nebraska-Lincoln, USA

Keywords: Design, Quilting

“Railways” brings together timeless quilting techniques, United States history, and future roads as statements about life. Inspiration was drawn from the passenger railroads of the United States and college graduation. “Railways” is a clean start to a new chapter in life. The top portion of the garment has interpretations of Nebraska, Iowa, and Illinois and the railroads that link them. Illinois is located on the front, Iowa around the shoulder, and Nebraska on the back. The main focus of the garment is between two circles that represent a current city and a future “railway” to a new city. Subtle quilted lines represent additional railroad routes and the farms and fields that surround these routes create a contrast of movement.

Inspiration from quilting provided ideas of layers, protection, lines, maps, geography, and destinations. Drawing from this, I used the railroads between the states of Nebraska, Iowa, and Illinois as a starting point for my garment. Communicating the color of this garment and its relationship to a clean start, I immediately thought of different shades of white. After applying geographical maps and fashion figures together, a finalized sketch of “Railways” was ready to be constructed.

The main emphasis of technique used in this garment is quilting. I began with draping the garment in paper to obtain the dimensionality that I needed. From there I made adjustments to the pattern pieces for darts and seam lines. I used a plain weave cotton muslin as the backing, polyester batting, and a plain weave Kona cotton in snow color as the outer fabric. Moving forward I created the garment in two sections, the skirt first followed by the top. I used a disappearing marker to create lines of quilting as the railroads, and used a pillow method of sewing to finish the edges of my backing, batting, and outer layer.

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Urban Camouflage

Shannon Kesler, Virginia Commonwealth University, Richmond,VA, USA

Design, construction, textile design

Urban Camouflage was created for professor Kristin Caskey’s fall 2009 class; Personal Space, My-Space, Outer Space. This course required students to research the works of Lucy and Jorge Orta, artist/designers working with clothing as metaphor and a tool for social change. Students were to research and develop their own concepts of personal space, in garment form for the course.

I created Urban Camouflage as a response to a specific site in my college town of Richmond, VA. Urban Camouflage was inspired by an abandoned factory building on Belle Isle, an island in the James River in downtown Richmond, VA. The history of Belle Isle includes factories and trade areas, as well as slave trails and prisons for Union soldiers. The remains of these varied layers of the past are physically present in what is now a park visited by a wide range of cityresidents. The building referenced by Urban Camouflage is visually arresting, layers of grey, blue and green paints are aged and cracked on the metal doors and walls, a large steel plate with an open porthole is pockmarked with rust. The rusting steel beneath the peeling layers of paint on this building has created a “camouflage” of it’s own, a beautiful and unexpected surface design created by time and neglect. I created the fabric using photographs I took in the space. A steel porthole is just the right size for a medium build person to slip through. In creating the piece I visualized a gown which blended into the surface when still and re-activated the space when moving. A piece that could slip through the layers of time and paint and re-inhabit this urban space with a sort of neglected glamour.

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Urban Camouflage was created by researching the site, creating sketches and concepts on paper, and then by creating a repeat print design using Lectra’s U4ia software. I drafted and draped a muslin and fit it on the dress form and a live model to get the correct fit and volume. I then cut the fabric and created the final piece. The bottom layer and layers under the skirts are made of tulle netting.

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Il Tondo

Kevin Kissell, Wayne State University, Detroit, MI, USA

Key words: wearable art, crochet

This design was inspired by the circle and its significance in science and myth. The circle connects and creates time and space, form and substance. It appears to us as substance and movement, expansion and gravity. There seems to always be a yin and yang of some kind. Many Shamanistic and non-Western spiritual practitioners view the circle as a sacred element necessary for meditation and a source of enlightenment through its never-ending design. In crochet, the circle is a repetition of sequence and movement. I approach the act of crocheting a circular form as a meditative, repetitive process.

Il Tondo began as a small doily form that continued to grow and evolve. The final form took shape as a shawl or wrap, symbolizing the human connection to cloth. Il Tondo creates a sense of space, substance, movement and protection.

The shawl grew outward from the center, formed by alternating bands of blue and black color. As the shawl increased in size, the bands of blue decrease and the black bands increase in size. The result was an equal balance of black and blue. The final circumference was about 7 yards.

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The accompanying black dress was created using traditional flat pattern methods. The black bamboo fabric was bleached and over-dyed with blue fiber-reactive dye. Circular ruffles were added to the bottom of the dress to visually connect the shawl to the dress.

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Layering Empty

Yoo Jin Kwon, Washington State University, Pullman, WA USA

Key words: Korean, Hanbok, Design

This design is to embody the beauty of layering and Ghit which corresponds to collar in Korean traditional dress. It encompasses the V-shaped neckline, creating a sharp and calm neckline. Ghit along with cuffs and straps is decorated with contrasting or often unusual colors. As those colored parts occupy a small portion, it allows playful combinations. Layering retains two perspectives: stacking and emptying out. In traditional architecture, the center is emptied by layering one wall after another, which features residential design. Likewise, a formal outfit includes multiple tops, which results in several Ghits stacked, and numerous undergarments for bottom. Layers of Ghit and under garments create voluminous silhouette and empty out a central space for the body.

A double-breasted high-waist dress was based on the proportion of the 18th century dress. The top is designed with three Ghits: ivory, sage, and purple. The top was cut in cross-grain, which put the shoulder area on bias and let the fabric nicely draped over the shoulder. The skirt is pleated with reference to a traditional look and tapers at the bottom to incorporate a modern flavor. Horizontal pin-tucks inspired by the frame of traditional door were added. Pin- tucks bring out the horizontal texture of the fabric and add body to the skirt. A belt, used in men’s coat, was added.

A traditional technique called Sam-sol was used. Sam-sol is a seam sewn three times to minimize the bulk of the seams for sheer fabric. A raw silk, called Ok-sa, was used. It is one of the silk fabrics used for traditional dress. The fabric is 17 inch wide with natural nubby texture. To capitalize on the texture and the stiffness of raw silk, the blue skirt was lined with two layers of pleated ivory fabric. The amount of pleats and lining created the fullness as desired without using tulle. The top was cut in cross-grain, which put the shoulder area on bias. Therefore shoulder seam was removed and the fabric was nicely draped over the shoulder.

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Amalgamated Anemones

Rosetta S. LaFleur, University of Delaware

Keywords: Reused, yarns, sustainability, quilted, sheer

Problem Statement and Inspiration. This design targets a young woman, age 16-25. The goals were to (a) reuse multi-colored complex yarns from upholstery fabric and incorporate them into fabric suitable for formal apparel, (b) reuse yarns to achieve surface structural detail in the fabric and (c) create texture and color variation in a solid color sheer fabric. Inspiration for the fabric surface and structural design of dress was derived from marine life and multi-colored sea anemones as depicted in an illustration by German biologist, Ernst Von Heckel. Sea anemones are ornately colored aquatic animals that resemble flowers with oral rings of tentacles in different sizes and shapes.

Description. This elegant two-piece floor length dress incorporates claret colored tulle, reused complex yarns in multiple, and variegated colors that were extracted from decorative pillow fabric. Surface design on the fabric is formed by quilting 1-2 inch pieces of yarn layered between tulle with gold thread to produce a textured, a multi- colored surface. A halter style quilted bodice is accented with a fabric belt composed of yarn tentacles protruding from a yarn-covered fabric ring. A floor length skirt is fashioned from volumes of tulle overlaid with multiple floor lengths of reused yarns.

Techniques. Two large decorative pillows 42” x 32” were purchased from a Goodwill center. The pillow coverings were made from fabric containing multi-colored complex yarns including ratiné, bouclé spiral and novelty rag yarns. These yarns were reused to develop the fabric surface design and texture. All warp and filling yarns were removed from the fabric and organized by usable lengths that ranged from 26 to 41 inches. Some of the yarns that were used in design of the floor length skirt required lengthening. These were joined with other reused yarns by knotting, twisting and flexible fabric glue to form longer lengths. The surface design on 2 yards of tulle was developed first. Four layers of tulle were positioned over 2 yards each of lining fabric and 1-inch thick polyester batting. Pieces of yarns extracted from the pillow fabric were cut into various lengths ranging from 1-3 inches and arranged by color beneath the top layer of tulle. The tulle along with matching claret colored

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lining and batting were hand basted together. Double gold metallic thread was used to quilt layers together using free form machine quilting.

Standard flat pattern techniques were used to design a fully lined, halter style fitted bodice with bust darts. The bodice and rectangle belt were cut from the quilted tulle. A fabric ring was created by covering reused upholstery cord with tulle and overlaying with reused yarns. The fabric ring formed the belt’s buckle which was anchored to one end of the belt. A 5-inch fringe of reused yarns was stitched to the opposite end to allow the belt ends to connect by looping through the fabric ring.

The full floor-length skirt was constructed from 10 yards of 108” claret colored tulle. The tulle was gathered to fit the waist measurement over an underskirt made from two widths of 45-inch polyester lining. Reused yarns were arranged adjacently over the tulle around the circumference of the waist. The yarns, tulle and lining were anchored to a waistband. Hook and eye closures were used for the skirt and halter top.

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2010 Proceedings Montreal, Quebec Canada

Luminosity Cac Lam, The Art Institute of

Dallas, USA Keywords: white, luminous,

feathers, flower

Purpose: This evening gown was designed for a Costume event such as the Metropolitan Museum of Art Gala, or for theater and plays.

Process: I researched Spring/Summer 2011 color trends. I was drawn to the white color predicted for the season. Because it is springtime, I wanted to design something with an easy feel and a touch of sparkle. I created a process book; where I collected white images such as a swan, drop of pearls on the floor, a just born baby chick, and a linen sheet flying on an open meadow. With all those inspiration images, I came up with my design of a 3-piece gown: (1) under leotard, (2) beaded gown, and (3) crop jacket.

Techniques: I used a slipstitch piping technique to incorporate the pearl strand into the front of the dress. I used a Hong Kong finish on all the inside seams to create a clean couture feel. On the jacket shoulder, I used the flower making couture technique and the hand stitch tuck down technique to sew the feather and flowers into the jacket. I hand stitched horsehair braid into the end of hem using a slipstitch technique.

Materials: I used white knit fabric for the leotard, white silk with diamond embellishment for the gown, and shiny beaded polyester for the jacket. I decorated the ensemble with flowers crafted from silk organza, ostrich feathers, and pearls. Notions used included a 12” zipper, shoulder pads, and horsehair braid.

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Siren of the Modern Day

Cac Lam, The Art Institute of Dallas, USA

Keywords: siren, seductive, beading, sea

Purpose: This evening gown was designed for a costume event such as the Metropolitan Museum of Art Gala, or for theater and plays.

Process: I researched the Fall/Winter 2010 fashion trends. Prominent colors for that season were black and tan, so I incorporated them into my design. I sketched multiple designs and became inspired by the under sea fantasy world. The concept of a siren came to mind. I think of a siren as a very beautiful, sexy, and seductive temptress. To echo this concept, I decided of to create a gown that emphasizes the female curves on top and flares out at the bottom to represent a fish tail. I added fin layers into the bottom half of the gown to give it dimension. Last, I attached two padded diamond appliqués to represent the seashell on top. This gives an overstated look to the siren dress.

Techniques: I used the slipstitch hand sewing technique to apply the appliqué on the top dress. I used boning for the corset. I gathered fabric to create the fins of the dress.

Materials: I used tan knit for the under layer, silk for the corset, lace for the top of the corset, crinkled silk for the fins, and hard tulle for the bottom of the dress. Notions included boning and eyelets. The gown was embellished with diamond appliqués.

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Local Vegetable Fur

Trudy Landgren, St. Catherine University, St. Paul, MN, USA

Keywords: milkweed, historic, sustainable

My first exposure to milkweed floss was attending a historic costume seminar at Old Sturbridge Village, Massachusetts in January, 2006. The lecturer displayed a beautiful cream-colored capelet for the group to admire from a distance; then asking us to decide what it was made from. The entire group answered lamb’s fur. However, it was made from milkweed floss. Intrigued with that information, and unable to examine the garment due to its fragility and wrappings, I decided to try to replicate the garment from memory the following fall. That was the beginning of my experimentation with how early settlers creatively used common, local plants to provide warm yet fashionable attire.

Historically, milkweed had been used as a replacement for goose down due to its buoyancy and ability to trap air. An enterprising young settler must have been able to see past enclosing the silky fibers between fabric layers to applying them as surface embellishment to imitate fur. It may have been out of necessity for a warm garment, but perhaps it could have been an expression of animal rights. When society uses animal fur as fashion expression they are requiring total commitment of the animal without regard to the animal’s contribution to the ecosystem. Vegetable fur could be the fashion answer to this conundrum.

The milkweed floss was collected in pod form from local ditches, park lands, and meadows. These raw materials would have otherwise gone to waste. The first year I collected about 200 pods as I had no idea what to expect in the experimentation of replicating the capelet. Larger pods were collected as I wanted to have the longest fibers possible for the project, and also leave pods available to re-seed.

Much was learned since that fall. Milkweed pod collection, storage, and handling have been experimented with. A variety of sewing techniques appropriate to fine, fragile fibers have been tried. Initially, hand application of fiber clumps was used to maintain authenticity, but the overwhelming time constraint led to choosing machine application instead. That presented its own unique challenges.

In an attempt to be truly sustainable, all components of the capelet were from items already in my possession. The base fabric for the milkweed capelet is a remnant of white cotton flannel from a previous sewing project when it was used as an interlining for a winter coat. The flannel is firmly woven and thus provides a suitable background for the application of small clumps of

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floss. The napped surface also provides additional warmth to the garment. The lining and center front closure are made from a silk jacquard fabric remnant that was used for a wedding dress while I was running a dressmaking business many years ago.

Sustainability is not a new concept in fashion, but it is one that has for various reasons started and ended throughout periods of our nation’s history. This project gave me an opportunity to look at historic fashion apparel to learn about re-introducing sustainable fibers into current fashionable attire.

Berkman, B. (1949). Milkweed: A war strategic material and a potential industrial crop for sub- marginal lands in the United States. Economic Botany, 3, 223-239. Retrieved from http://www.jstor.org/stable/4251941?seq=1 Klingaman, G. (2004). Plant of the week: Milkweed. Retrieved from University of Arkansas, Cooperative Extension Service website: http://www.arhomeandgarden.org/plantoftheweek/articles/Milkweed.htm

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Cascade Denim Evening Dress and Leather Vest

Dongeun Lee, California State University of Northridge, USA

Keywords: cascade, denim, leather, dress

Purpose of cascade denim evening dress is to utilize different material to make evening dress which consumer can wear this garment for all different purposes. Leather vest was developed to promote the usage of leather, denim and knit. Denim represents the working classes with its functional nature in U.S history. Making evening dress with denim explains my philosophy for fashion. I think that fashion should be something that people can afford, enjoy themselves, functional, aesthetic and make people feel confident in their everyday life. In design process, choosing right denim for draping was important. It was hard to find light weight denim with decent color and texture. Also I had to consider about weight of lining. For the vest, I was challenging myself to use different material. Leather worked well with lighter denim and it adds more casual look as well. To start draping skirt, designer used thicker material to drape cascade effect. To show inside of the skirt, designer adjusts and manages the skirt during draping process. For just front part of the skirt, it exceeds 360 degree. Also length differences are about 30 inches. The back of skirt is basic skirt without dart. The top of the dress is sweetheart top with corset effect. For the vest, I made pattern for hood first then change basic bodice pattern to overlap notch collar vest.

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Montreal, Quebec Canada 2010 Proceedings

Leather Armor Dress

Dongeun Lee, Jongeun Kim, California State University of Northridge, USA Keywords: Armor, Powerful, Contemporary, Women

To use leather armor to symbolize the power and confidence of women who live in today’s competitive world while maintaining focus on the beauty of the women’s body shape by using the princess line as the basis of the dress structure. The body shape is further accentuated through the use of corsets and side cowl. During the design process, careful thought was given to the weight and texture of leather. Thin cow hide with soft surface texture was selected to make the dress. Considering the inherent size limitation of a single cow hide, vertical style lines were placed on the top bodice to maximize the leather usage. The use of vertical style lines served to provide a slimming effect on the wearer’s torso. The leg warmer was developed to support the functional and aesthetic armor image of the dress. After a rough design sketch, the geometric shape of the cowl, corset top and bodice were draped. To generate the best fit while using a non-stretchable material such as leather, the pattern was reconstructed with small pieces. 1 ½ inch straps were used to develop five layers of cowl with ½ inch overlaps. To create a 3-D effect for leg warmer surfaces, bedding was inserted between the leather and top stitches.

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Montreal, Quebec Canada 2010 Proceedings

Notch Collar Jacket Dress

Dongeun Lee, California State University of Northridge, USA

Keywords: Notch collar jacket, men’s suit, women, trend

Purpose of designing the notch collar jacket dress is to use heavier structured material to express masculine to feminine side of the garment. People buy clothing to protect themselves but also, clothing builds one’s image. I wanted to design something that has contrasting images and coexists well. Design concept came from men’s suit, men’s suit materials and the powerful women’s image came together to form the jacket and the basic concept to develop powerful women’s image yet still feminine. The notched collar breakpoint is low and the front hem line is slightly shorter than the back to express the powerful but still feminine women’s image. Using different style lines and shapes are the main key points of my design. The first step was draping basic notch collar jacket. After, I decided depth of break point, shape of notch collar and silhouette of garment. Making several mock up was required to achieve desired silhouette of garment. The last step was working with details. I used flat pattern to make a back yoke and box pleat and inseam pocket on both sides. The shoulder pad was the most challenging part of my design. I put style lines on shoulder and separated pattern from bodice. Then I joined two separated pattern and make them 1/8 inch bigger to insert shoulder pad.

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Montreal, Quebec Canada 2010 Proceedings

Flared Dress With Zipper Flowers

Jovita Lektzian, Su-Jeong Hwang Shin, Texas Tech University, USA

Keywords: Design, sustainability, zippers

Zippers are highly appreciated in today’s fashion world and provide an opportunity for creative, unusual, and different designs that can be set apart from other, more traditional, designs. This project, by constructing a dress entirely out of zippers, provides an opportunity to explore some of the many possibilities that zippers provide for creativity as well as sustainability.

Purpose: The garment is designed to stand on its own as art rather than as a ready-to-wear product. It is constructed nearly entirely out of sustainable zippers, moving it from the world of everyday fashion to the world of haut couture. Additionally, the garment makes a modest contribution to the eco world of fashion, as much of the design and manufacturing incorporates everyday things that can be found around the house. One inspiration for this work is to demonstrate that environmentally conscious designs need not be pedestrian. By demonstrating that a work of art can be constructed almost entirely from reused and repurposed metal zippers, taken from worn out blue jeans or zippered coats, the garment makes a statement to the eco world that there will always be lots of new and creative ideas to help sustain the earth and humanity.

Constructing a dress out of zippers is unusual, and quite rare, but is not entirely without precedent. An early example of zippers as decorative pieces is the work of French designer Elsa Schiaparelli in the 1930’s. Additionally, Sebastian Errazuriz, an artist-designer from Chile, made a dress named “N3”out of 120 metal zippers in April of 2009. In commenting on the dress's construction, he said "The dress is aimed at women who like fashion but who don't like being told what to wear.” (Telegraph.co.uk 2009). The dress described in this document differs from Errazuriz’s in at least two important ways. First, unlike this dress, Errazuriz’s dress was intended to be worn rather than to be displayed as Haute Couture. Second, the dress being described in this document is perhaps the first zipper dress made with the explicit intention to be eco conscious. Considering that zippers have traditionally been used for function and not fashion, the idea was to create something both unexpected and a bit humorous, while at the same time being eco friendly.

The design process: The hourglass silhouette is the most important element of the dress because it determines the shape and the visual aesthetics. The line of the dress is also very important, the harmonious juxtaposition of curved diagonal and straight lines contributes to the overall silhouette. Texture is incorporated as a tactile sense of the surface of the fabric through the construction of the zippered surface. In an effort to follow the "Golden Mean" rule, the dress is constructed with an eye toward making the wearer look taller and slimmer. Asymmetrical

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balance is created by using the line and pattern of the surface design on the dress. Despite the unusual materials used in the dress, the design is unified and the applied elements are constructed to work together. The repeated use of decorative lines and flower shapes are meant to create a rhythm, while the inclusion of zippered flowers throughout the dress creates emphasis by focusing the attention to these specific areas.

The techniques used to create the piece: The underlying structure of the garment is a “Mermaid” style dress with a surface design applied to it. The patterns were made based on the princess cut construction and a flared gored pattern manipulation was added to the bottom of the dress. The zippers were sewn onto the front and the back separately. Then, the side seams and shoulder seams were connected, followed by the insertion of a full lining with facings. The dress is fully lined, because the sustainable zipper flowers and decorative zipper lines have very rough edges. Without a full lining, these rough edges could result in minor abrasions or even cuts to the wearer’s skin and also could jeopardize the aesthetics of the dress. Additionally, while most of the zippers are decorative rather than functional, zippered opening on the center back seam serve the traditional function of zippers.

To make the construction easier, the garment's front and back were completed separately without sewing the side seams together. This made it easier to apply zippers while the front and back remained separate from each other. To construct the zipper flowers, smaller sustainable zippers were cut into pieces and a gathering technique was used to make small flower petals. To make decorative lines out of the zippers they were first disassembled and then individually sewn on to the garment. The buttons were attached to the flowers by hand using a simple button sewing technique.

The materials used: The materials used to create the dress were not extensive. The main material was a large quantity of sustainable copper zippers for the surface design. Cotton fabric was also required for the base of the dress and a polyester lining fabric was used for the lining. Sustainable plastic buttons were used for decoration and surface design.

References Telegraph.co.uk. 2009. "'Zipper' dress that can be worn 100 ways is ultimate in credit crunch chic." http://www.telegraph.co.uk/news/newstopics/howaboutthat/4680075/Zipper-dress-that- can-be-worn-100-ways-is-ultimate-in-credit-crunch-chic.html. Accessed on 5/27/2010

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Montreal, Quebec Canada 2010 Proceedings

Colored crystal

Jing Liu, Zhao Lv, Xi’an Polytechnic University, P.R. China and Wei Cao,

California State University Northridge, USA

Key words: silk, embroidery, man-made crystal

Purpose: The dress is a wearable art inspired by a flying peacock. A three-dimensional flower on the silhouette was constructed by gluing feather-shape units with shaded colors and gradually changing sizes. It simulates a beautiful bird flying on the sea and aims to express the endless brilliant Chinese civilization. The rhythmical textures on the front and back by using the individual but connected units showed the harmony of nature and human being.

Process: In tandem with the essence of the inspiration, a silhouette of Chinese traditional clothing – Cheongsam was constructed by using flat-pattern. An emphasis with a three-dimensional and colorful blooming flower on the curved line of a human body was made by multi-layers of intricate feather-shape units. Each unit with the difference in shade and size was glued proportionally to form a rhythmical pattern. Due to the thickness of the individual embroidered unit, the flower is vivid. Pleats were individually hand folded to simulate the wavering movement like sea. With a design concept of lively flowing image of the peacock on the sea, the blue color tone and textured textiles were considered. The gradational effect of color was embroidered by using different shaded silk threads. The standing collar was a typical element on Cheongsam decorated with crystals. The unique texture of the dress is the highlight point.

Techniques: Varied colors of silk threads were embroidered on the base fabric, different sizes of unit was individually cut and stitched Bodice units were glued by individual unit on a silhouette of Chinese traditional clothing – Cheongsam. Many layers of feather-like units were used to enhance the three-dimensional effect. More crystals were applied to increase the

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glamour. To fully reproduce the wavering image of sea water, the techniques of pleats were hand made and fixed by stitches. The design is a largely handmade dress to express the femininity.

Materials: Silk threads were embroidered on the base fabrics. Crystals were embedded on the collar, feather- like units and pleats.

The split and combination of each feather-shape unit plus the waved pleats add the uniqueness of the dress in terms of the contrast of the color, texture and rhythm. The embedded crystals enhance the flexibility and glamour of the dress. The harmony of nature and human being was a synthesis of the desire to fly.

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Montreal, Quebec Canada 2010 Proceedings

The Nature of Love Yiwei Lu, c, USA Keywords: Nature, Flower, Glowing in dark The Nature of Love inspired by the works of God: simplicity, nature and elegant environment. The simplicity color, silhouette and fragrance of all the plants and insects compose a beauteous scenery weather in the day or night; it makes people peaceful, love and happy. Therefore, I decided to make the nature of love to depict the beauty of nature. Choosing right materials would be first and important things for me to depict nature. So, I tried to recycle all the materials as many as I can. The beauty of Nature of Love is eternal continuous of day and night, without daylight it still glitter with luminous latex paint finish. In order to form of nature silhouette, I ripped surface of card board and cut into several pieces and tied each pieces by ribbon to form the top of dress form. Then, I glued various barks on the card board and few branches, a butterfly clip and glitter glue on the top of bark as decoration. After that, I sewed tulles into various irregular pieces to shape silhouette of flower. And, I used plastic hardware cloth to make a skirt as base support as well. I glued feathers and Styrofoam balls with stem wire in the middle of flower tulle as pistil. Also, I painted luminous latex on the each edge of tulle pieces, butterfly and few spot on the barks. However, the material I used were cardboard, bark, branch, butterfly hair clip, ribbon, luminous latex paint, sparkle glitter glue, tulle, stem wire, plastic hardware cloth, feather and Styrofoam balls.

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Montreal, Quebec Canada 2010 Proceedings

Anatomy of a Jacket Daniel Lundby Iowa State University, Ames, IA USA

Keywords: Design, customizable, graphic, digital textile printing technology

The design “Anatomy of a Jacket” evolved from a men’s wear project with the goal of creating a design that integrated dramatic digital images into a customizable jacket that would allow many possible-wearing variations. The printed images can be concealed, revealed, or even partially revealed depending on the wearer’s mood.

My initial inspiration came from punk styles, especially those seen in the European countries, and the sense of individuality in their clothing choices. Most punk fashion makes a statement about who the wearer is as an individual, and often involves taking something as simple as a denim jacket and making customizing it through creative means such as deconstructing the materials, painting, or adding additional pieces. It was that same sense of creative manipulation of their clothing that I wanted to duplicate by creating a jacket that can be worn in numerous ways and that had a custom print.

For the creation of the graphic imagery I drew my inspiration from the historically representation of the mythological creature Medusa and anatomy illustrations created by French artist Jacques Fabien Gautier d'Agoty who worked as an engraver and helped develop the color printing process by experimenting with three and four color printing process (Davis & Simblet, 2001). I used a Mimaki TX2-1600 digital textile printer and computer design software to manipulate historical paintings to create all the graphic imagery used on both the front and back of the jacket. The digital textile print processes opens up opportunities to create images that are integrated into the form of the garment and the capability to print images that allow images that fill the garment and are matched across the seams.

The imagery created for the jacket was designed to tell a mythical story of the gods and mortals. It depicts a fierce struggle of individuality between the 2 central figures on the back of the jacket fighting for the prize while the gods observe. Using light and shadow to create a circular shape guides the viewer’s eyes around the entire composition, allowing him or her to discover small details in the imagery. The imagery for the front of the jacket was created to allow the wearer of the jacket to customize it to suit their needs. For the creation of the ribs, I studied skeletons and observed how the ribs are symmetrical on both sides and all had their own Page 1 of 2

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individual shape to serve the purpose of protecting the internal organs and duplicated the feeling of how the placement of the ribs would appear. When the ribs are removed the under layer is revealed to expose the internal organs of the human. For the under layer the graphic imagery was mirrored symmetrically in the same fashion the ribs were, and the color manipulated to a blood red for added realism Playing off the image of Medusa as the central god figure on the back of the jacket, I also digitally printed the lining of the jacket with an allover pattern as an oversized snakeskin that is coordinated with the purple hues found on Medusa. The jacket is constructed of digital printed twill and black denim with a cotton sateen lining. Overall, the final effect is one that is painterly, but with a hint of the shock value often seen in punk fashions.

Davis, J., & Simblet S. (2001) Anatomy for the artist. London: DK Pub.

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Le Sacre du Printemps

Lindsay R. Manzari, Virginia S. Wimberley, University of Alabama, USA

Design, Renaissance, Safari, Ruff

Le Sacre du Printemps, or The Rite of Spring, shocked the audience in Paris in 1913 as ballerinas danced across the stage breaking all the rules of classical ballet. The irrelevant composition of music composed by Igor Stravinsky, dance techniques choreographed by Vaslav Nijinsky, and the unique set and costume designed by Nicholas Roerich combined together created a scene of chaos at the premiere, but now they can be interpreted as the opposites of attraction. This historical event and artistic influence that changed the succeeding decades inspired the idea of combining two different design elements, the masculine vest and feminine dress, into one harmonious outfit.

The design development of the vest began by studying military jackets, but later transformed into a safari styled vest. Inspired by opposites of attraction, the idea of the dress came from the costumes worn during the era of Elizabeth I. Feminine details achieved by a voluminous ruff extending to the waist and finished by a corset inspired lace-up on the back, the dress reflects a modern version of the 16th century. The blending of the elements of the vest and dress achieves a harmonious piece of art by the strong contrast of neutral colors, opposite forces of design elements complementing each other, and surprise element of the leopard printed lining all working together.

Using the draping method, I developed the basic design of the vest and the mandarin collar using gingham fabric. After designing the patterns, I used 100% cotton twill as the outer layer and leopard printed canvas lining to produce the final vest. Non-woven fusible interfacing was used in the collar, armscyes, and neckline facing that extended down the front for added support. The vertical pleated detailed pockets were constructed by the use of flat pattern to achieve the perfect ratio between the top pockets versus bottom pockets in size. I created a unique ogival pointed flat pattern for the pocket to reflect my design philosophy and added top stitching around the pockets to produce a precise detailed finish.

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When designing the dress, the bodice was created by the draping technique also using gingham fabric. The final version of the dress was made of 100% polyester chiffon lined with 100% Kona plain weave cotton. Both fusible and sew-in interfacing was used for support around edges of the design. Flat pattern was used to draft the full circle ruffles on the bodice and the three double layered skirt. To achieve the volume of the ruff and full skirt, I basted chiffon over cotton and gathered. Gold eyelets were inserted along the center back opening to construct the corset-inspired, back bodice of the dress, which was then finished by black ribbon laced through the eyelets.

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Montreal, Quebec Canada 2010 Proceedings

Black Widow

Morgan McAllister, Auburn University, USA

Key words: print, piping, evening

The concept of a black widow, in any sense of the term, inspired my gown. I wanted to incorporate a bold design detail such as cording, out of black and white prints to express a web of sundry ideas held together by the threads of two single colors. I was also inspired to use rich fabrics and create the essence of a wedding dress while suggesting the juxtaposition of a funeral.

Through the use of black silk for the skirt and varied black and white prints for the corded bodice, I wanted to convey a metaphor for a black widow spider and express the paradox between a bride and a widow.

I used over thirty black and white prints to create different lengths of bias cut strips to cover cording. I arranged and tightly sewed the assorted cording onto the bodice and then hand-stitched them in place. I had draped a fitted bodice with princess line seams. A lining with structural boning supported the weight of the cording. I added a ruffle of silk organza to the top of the bodice and used it to create a fully gathered skirt with a sash. A tulle underlay was added to support the shape of the skirt. The red roses were added for contrast as well as mimic the spot on a spider. The materials I used include: printed cottons, silk organza, black satin, nylon tulle, cased boning, various ropes for piping, a zipper, and thread.

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Montreal, Quebec Canada 2010 Proceedings

Dress No. 5 in Blue

Nicole McIntosh, Kristin Geiger, Iowa State University, USA

Keywords: Art-wear, Digital Printing, co-design

The initial inspiration for this design was the painting The Figure 5 in Gold by Charles Demuth. The focus of the design was integrating surface design with the form of the garment. We experimented with draping different shaped fives around the body, blending the shape of the number with the curves of the body.

Charles Demuth created this painting as part of an abstract series in 1928. He based it on a poem by William Charles Williams that describes a red fire truck racing through a city at night. The No. 5 was painted on the side of the fire truck.

We started the draping process by cutting out 5s in different shapes and colors. The shape fit around different curves of the body beyond traditional seam lines. We incorporated many other lines and shapes.

The biggest thing we experimented with for this project was digital printing. Neither of us had tried it before and figured with the combined energy that this was a good project for experimentation. We abstracted from the painting to draw more of our inspiration from the shape of number 5. The background was developed by playing with various fonts and layering their different shapes. Through all of the layering and distorting we came up with a color palette that was softer and more colorful than the original painting color palette of just primary colors. The yellow five in the center of the dress was the original concept and focus of our dress, so we decided to keep that focus and make it brighter than the rest.

We engineered all of the pieces individually instead of creating a repeated textile print. Each piece has its own pattern that matches along the seam lines.

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bottom of the dress volume and dimension. We made complete casings around the foam, so the viewer or the wearer can discover for herself what provides the dress its shape.

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Montreal, Quebec Canada 2010 Proceedings

1987

Andy Morales, Georgia Southern University

Keywords: Pop-culture, technology

The NES Power Pad dress bridges the juxtaposing of nostalgia (pop-culture pieces), with the fashion contingent of novelty, functionality and aesthetics to transcend singular classification. The Dress is a visual/physical representation of this process and how nostalgia assigns significance to iconic objects/images in relation to one’s time period. The dress contains a hidden panel, which reveals a number relative to the model’s age and original U.S. release date of the video game pad. This represents the nostalgic effect of assigning an object relative to one’s time period, and aesthetic preference, producing the end result of his/her creative output. The side A and B insignia on the dress is an abstraction of the “After” and “Before” of the object’s creation and re-conceptualization.

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The Power Pad is a vinyl composed of pressure sensors and wires. It plugs into the Nintendo Entertainment System and allows the player to interact with athletic-based games by running on the pad. The pad’s original release date was in December of 1987. I originally designed the piece as a tent dress, but it proved problematic with the amount of material available—the game pads are rare and can only be found on online auctions and (even more rarely, 2nd hand stores).

So, I took into consideration the patterns and how the material would be cut to allow them to match up at the side seams. This required the use of fractions and applying precise marks that would be later used in joining the circles at the sides. The material became a challenge given the fact that I used a low-end Brother sewing machine, it was my first time designing and constructing with vinyl and that the recovery rate of the material is non-existent—no allowance for mistakes.

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Montreal, Quebec Canada 2010 Proceedings

Pupa Butterfly

Kristen Morris, Casey Stannard, and Juyeon Park Colorado State University, USA

Keywords: Universal, Design, Textile

Purpose The purpose of this project is to design women’s clothing in the transitional life stage from pregnancy to motherhood and beyond. The concept of Universal Design provided a framework for this project. According to the Center for Universal Design (1997), Universal Design intends to simplify life for everyone by making products more usable by as many people at little or no extra cost. The seven principles for Universal Design include 1) equitable use, 2) flexibility in use, 3) simple and intuitive use, 4) perceptible information, 5) tolerance for error, 6) low physical effort, and 7) size and space for approach and use. Since the concept was first coined in the late 20th century, the universal design principles have been used in various academic fields, mostly in interior design and instructional design. Although the original universal design scholars suggest that this design concept can be applied to any type of product development, there have been no research efforts on exploring this design concept in apparel product design and development. This lends a strong rationale for this design project.

Process With a design theme of the metamorphosis life stage of butterflies, colorful butterfly motifs and watercolor strokes were used for textile design as a metaphoric means to depict the celebrative life stage of women. A tunic dress and a support belt were developed as a final garment. Design elements such as relaxed fit, shirring details, stretchy fabric choices, and reversibility with no determined front/back and opening were incorporated. With the ability to be worn in multiple ways, and the removable belt accessory, this garment provides flexibility of style and function to the wearer.

The support belt is simple in design and easy to wear. The belt allows the wearer to manipulate the style of the dress, and is also functional with support and compression to alleviate

Montreal, Quebec Canada 2010 Proceedings

back pain often associated with pregnancy and child-carrying. This garment was designed to minimize potential environmental hazards such as trims that hang off the body like cording, and over the head donning to avoid potential tripping hazard for pregnant women. The stretch fabric choices and design details (e.g., wide boat neck, tunic silhouette, elastic support belt, etc.) were carefully chosen not to restrain body movement and offer generous sizes to accommodate many different body shapes.

Techniques Adobe Photoshop and Adobe Illustrator was used to manipulate photographs of watercolor process paintings. Large abstract butterfly masks were used to create subtle overlays and visual interest. The textile pattern was composed with the garment pattern pieces in mind to create and engineered design. The colors and motifs of the textile design were chosen to reflect the metamorphosis of the female form.

The dress was created using draping techniques on a standard dress form. A preliminary fitting was performed to evaluate fit, silhouette, and function of the garment. The final garment patterns were digitized into Modaris. The garment pattern was exported to Adobe Illustrator to apply the digital textile design. Textile design was digitally transferred onto a Nylon/Lycra fabric using a Mimaki digital textile printer and finished using a Jacquard pressure steamer. Excess dye was removed from the digitally printed pattern pieces using a mild acidic solution bath.

A complimentary Nylon/Lycra fabric was utilized to line the garment thus enabling reversibility. The support belt employed two layers of Tricot mesh to provide extra support for the abdomen and lower back regions. The finished garment was assembled using industrial sewing techniques.

Materials Shell: Nylon/Lycra jersey; Lining: Nylon/Lycra jersey; Interior Belt Panels: Tricot mesh

Reference The Center for Universal Design (1997). The principles of universal design (Version 2.0). Retrieved from http://www.design.ncsu.edu/cud/about_ud/udptinciplestext.html.

Montreal, Quebec Canada 2010 Proceedings

Serrat Est Chic 2

Henry Navarro, University of Cincinnati, USA

Keywords: sculptural design, conceptual design, architectural design

Purpose

As an artist-in-residence at Can Serrat Arts Center outside Barcelona, I create a mini-collection exemplifying the aesthetic and conceptual intersections between fashion and fine arts. “Serrat Est Chic” was inspired by the deceptive simplicity of rural Spanish architecture. The dresses, blouses, and pants acquired a double purpose: as sculptural forms when hanging, or modern silhouettes when worn. The forms of the garments show an interaction between clothing as architecture—as mimicking the centuries-old columns and stone walls still standing strong in rural Spain—and clothing as movement and human expression . The silhouettes of the garments both complement the shape of the human figure, and also create a dialogue with the idea of the body as a type of architecture in and of itself.

The themes of the body as a semantic entity and dress as a propitiation of cultural dialogues are central to my scholarly work and teaching.

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Process

I created and produced this series of garments over two days, in a rush of inspiration while working with a conceptual designer from Berlin.

Techniques

I sketched designs and sewed the garments on an ancient Singer sewing machine which a local restaurant owner found for me in the small town where the arts center is located.

Materials

I used a wealth of fabric stored at the arts center, all synthetic of unmarked provenance. The bright colors mixed with white reflected the sun-bleached colors of the landscape in the area.

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Inspiration from Japanese Traditional Wrapping for Celebration

Yoshiko Odamaki, former Tokyo Tanaka College, Japan

Keywords: Wrapping, Dress, Kimono

Purpose: Japanese traditional wrapping is used to Fig.1 dedicate to God in ancient. Even now, Japanese use it for celebration such as wedding. The wrapping is not only aimed to cover up the

goods but also to decorate formally and beautifully. In the first instance I met this lame cloth crepe like, I was fascinated strongly with its deep brightness, and the material was lighter than I guessed. I imaged the sky of brilliant dawn with the feeling like Japanese traditional wrapping, and was inspired the dress design of joining both. In the result, straight silhouette asymmetrically lapped has been completed. Moreover, I decorated with the accessory like a broach made of Japanese braid and hair ornament in the front for imaging Japanese traditional wrapping.

Process: The dress design form was based on the straight and curved lines cut as little as possible for showing the excellence of material as it is, like Japanese Kimono design. Frill of its neck collar was supposed from the brilliant sky at dawn. For utilizing its surface and shine feeling, seam and dart were avoided as much as possible. Then, the Fig.2 dress design of straight silhouette was completed asymmetrically lapped as shown in Fig.1. Further, the accessory of Japanese braid “Obi-Jime” and hair ornament was adorned the front, as similar to “Noshi” the symbol of the Japanese traditional wrapping.

Techniques: Folding half the original cloth of 230cm length, the folded edge was used as hem of the dress, and the overlapped edges are unraveled 0.8cm and the remained warp yarn of dark orange became accent of the neck collar frill. As shown

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in Fig.1, the cloth was turned around the body and lapped front closing. In the front edge, grosgrain ribbon of the same color was hand-stitched. In the back, 2 strips of the same ribbon were hand-stitched at its center, not using the sewing machine to keep its feeling as it is. In the arm hole, as the cloth was not remained so much, another thin mesh cloth of lame was used for the faced closing. Using 4 pieces of the cloth remained and 2 pieces of another cloth, I made the corsage and adorned at the center of back neck line as shown in Fig.2.

Conclusion: This dress was completed in 19th May 2010, which materials were lame cloth of polyester 100% and braid of silk 100%. Excellence of the cloth inspired me the dress design according to the Japanese traditional wrapping, which was actualized by the simple design applied straight lines and asymmetric silhouette like Kimono. While the accessory of braid was adorned on the front in this case, other accessory of similar color such as belt might be applied well instead of it. Thus this dress will be able to express more the spirit of Japanese traditional wrapping in various way using accessories.

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Design: Modular Fashion and Sustainability in the Apparel Industry Zigwai Remy Odukomaiya, Marian O’Rourke-Kaplan, University of North Texas, USA Keywords: Design, Sustainability, Modular

In an attempt to contribute to the many solutions aimed at environmental sustainability, my project reviews some issues specific to the apparel industry. A lot has been invested by various arms of the apparel manufacturing processes and less on the contribution of the designer as a critical part of the process. A look into the waste created by the industry from various perspectives like, manufacturing, retail, affordability to the user and finally, the impact of all three mentioned above and the direct or indirect impact to the environment.

Apparel manufacturing processes from fiber to garment have each played a significant role in the current state of chaos. Pre-consumer waste such as fabric, fasteners, thread, paper and much more can be avoided by not only the approach to pattern making techniques and production processes but, from the conceptual stage of designing. A look or a line can have between eight and ten garments that may or may not be interchangeable; the implications of the number of pattern pieces are as a direct result of the designer. It is estimated that over 10.6 million tons of textiles is produced, not including the waste that is unaccounted for in countries that manufacture with less or poor laws and infrastructure. The modular project attempts to cut down waste from this level by creating the most ‘looks’ from the least number of interchangeable garments thereby, creating less fabric waste.

Retail waste creates a staggering figure of over 2.5 billion pounds of textile products a year and usually from unwanted inventory or garments that the consumer have no more desire for due to seasonal demands and ‘fast fashion’. This is not to disregard the efforts that are in place to manage waste; the question is how do we reduce the amount of waste produced starting at the design or conceptual stage of apparel production? As a designer, I aim at making exciting pieces that are interchangeable and could have a longer life with the consumer.

The way forward Modular design by definition is breaking down complex systems to exchangeable pieces that can still work when combined. So, to impact the issues of waste mentioned above I propose the designing and production of more modular garments, which have been conceptually and technically thought out to address sustainability issues in the production, retail, and use of apparel stages. The International Standards Organization (ISO) defined environmentally friendly products as, ‘identifying the general environmental performance of product within a product group based on its whole life-cycle in order to contribute to improvements in key environmental measures and to support sustainable consumption patterns’. Within the context of this definition, I believe that modular fashion as a design approach is the way forward in the apparel industry’s contribution to healthier consumption patterns and environmental integrity.

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Process I began with examining two historical garments that attempted modular fashion in several different ways; a two piece ensemble by Givenchy created in 1973 from the Texas Fashion Collection comprised of a Navy blue jacket with a scoped “V” neckline and long sleeves and a skirt. The modular parts were a white collar that snapped on to the jacket from the facing to create either a shirt look or a lapelled jacket look. It also had a white matching band that attached to the hem of the sleeves to give the illusion of longer sleeves or a double layer. Also examined from the collection was a five piece ensemble by Claire McArdell (year unknown), though there was not much that would be considered modular in terms of attachments, but by definition are modular. I developed a series of sketches of garment types and narrowed it to three; a Bolero jacket, narrow skirt and a sleeveless top (Image 1). These three garments had to work perfectly together as well as separately. With the use of tracing paper, each layer was created carefully eliminating one basic aspect of the garment such as sleeves and adding more aesthetic pieces. Each layer of tissue was examined to determine the modular aspects of the design.

The first muslin which was the basic bolero, jacket and skirt was made using a combination of both draping and flat pattern techniques. The initial design of the skirt had many seams, resulting in increased production cost and therefore, decided to keep clean straight lines in the jacket and the skirt, while the sleeveless top was designed more intricately. Accurate measurements had to be taken for each part of the garment that a module would be attached to for fit. A circular flounce was created to attach to the sleeveless top, as well as the sleeve of the bolero jacket for added length and to the skirt for added embellishment. Three garments can create the look of six individual garments sold at retail stores, which means three less garments to be manufactured and three less garments to end up in a recycle pile, or landfill.

Book References Blaszczyk,Regina Lee. Producing fashion: commerce, culture, and consumers Ehrenfeld, John R. Sustainability by design: a subversive strategy for transforming our consumer culture.

Websites www.apparelsearch.com/Terms/T/Textile/Waste http://www.ncbi.nlm.nih.gov/pmc/articles/PMC1964887/

Archives The Texas Fashion Collection. University of North Texas.

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Trinity

Linda Öhrn-McDaniel, Kent State Univeristy, Tallmadge, Ohio

Keywords: Design, surface design, machine embroidery

The purpose of this dress was to create a garment that would represent my image of God from the perspective of the trinity. Creating three different surface designs to represent the parts of Father, Son, and Holy Spirit. The idea was to engineer the surface design so that the shapes would create the fit of the garment. It was also important that the design continued across the borders while changing to clearly show the difference in the 3 parts that make the whole. In the images below you can see the full front view where the stripe placement is incorporated into the fit of the dress and in the detail image you can see the surface design and how it links between

sections.

Each of the three types of stripes represents the Father, Son, and Holy Spirit in the trinity. The sheer organza layer represents the Holy Spirit. The second stripe type, different silk fabrics held together by the embroidered heart pattern, represents Jesus, who put on the clothes of man. Third is the hearts of embroidered text, representing God. Each heart has half of the text facing towards the body representing the conversation between God and the wearer. As the focus was on the surface design a simple silhouette was chosen not to distract from the importance of each part.

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The design was started from a flat pattern incorporating the fit through the shapes of stripes. Once the pattern pieces were complete the different embroideries were developed to fit the shape. After each section had been embroidered the pieces were sewn together to create the dress.

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White Birch with Lichen

Belinda T. Orzada University of Delaware, Newark, DE USA

Keywords: natural dyes, draping

Inspired by a lichen covered white birch tree observed during a hike while on vacation in Maine. This dress is one of several conceptual garments in my Botanicals Collection. This collection features garments inspired by trees and flowers to make a statement about environmental sustainability and the fragility of nature. My design goals for this project were to imitate the silhouette and textural details of the white birch tree and to utilize natural dyes as a color source.

Multiple sketches of garments as birch tree silhouettes and locations for the embellishment were executed. Natural dye sources were researched to identify appropriate dyestuffs to provide the color source for all fabrics.

Silk douppioni base fabric was hand dyed with a small amount of lichen dye, which resulted in an off- white shade. To develop the pale green shade of the lichen appliqués, silk organza was dyed first in juniper berry dye to obtain a light yellow, then immersed and instantaneously removed from the indigo dye, so that the resulting green shade would not be too blue or too dark.

Parallel lines of stitching with heavy grey and black thread on the douppioni base fabric represents the texture of the white birch tree bark. To form the lichen appliqués, small curved shapes were cut from the pale green organza. A serger was used to roll hem the fabric edges. The shapes were then scrunched to replicate curly edged lichen and hand sewn to the dress structure. Page 1 of 2

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Draping and flat pattern methods were used to design this halter style dress visualized as a white birch tree trunk silhouette with the unattached fitted sleeves as its branches. The full-length dress has a dropped waist and French darts, and is fully lined. It has a side slit to the knee.

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Inkjet Paint Brush

Juyeon Park and Wildrose Hamilton, Colorado State University, USA

Keywords: Textile, digital, hand-artistry, design

Purpose This project demonstrates creative exploration of digital printing technology as an expressive medium of hand artistry. Traditional oil painting techniques provided visual imagery for textile design on digital surface.

Process The original oil painting on 3’ x 5’canvas, painted by one of the designers, was photographed and translated into an electronic file. In this step, the quality of the photographs was highly concerned to maintain oil painting details such as brush strokes, water drips and the texture of the canvas. Using Adobe Photoshop CS4, the oil painting was transformed into a sophisticated textile design. This design process allowed designers to experiment with various design manipulations in color, proportion, repeats, and overlay in a much shorter time than the traditional design process. For this particular textile design, an transparent image of the original oil painting was mirrored and overlaid. Numerous color combinations and repeat effects were explored and the final design was achieved. Taking Vionette’s original patterns No. 8 (Kirke 2005) as a cue for the final presentation, a silk chiffon dress was draped, and the patterns were digitized. In order to retain the original proportions and sizes of the draped patterns and to minimize the usage of printer inks, textile design was superimposed directly onto the digitized patterns in Lectra Modaris. The pattern pieces were digitally printed, and the final dress was assembled using traditional sewing techniques.

Image 1. Front View (Left) Image 2. Textile Design (Right)

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Techniques Mimaki printer (TX2-1600) was used for digital printing on silk chiffon. Acid dyes were used. After printing, the fabrics were steamed at 222 ºF for 15 minutes, washed in an acid bath, thoroughly rinsed, and dried flat. In order to align the grainlines, the steamed fabrics were ironed at a low temperature. As for the final garment, a high-waist dress and a scarf (40” x 130”) were draped on a standardized dress form. The long scarf was designed to be wrapped around the upper torso and the double-layered bust on fold created loops at the under bust line. Along with a button hole at the center front, the loops functions as a fastener for the scarf drape to keep in shape. This innovative draping solution features the uniqueness of this dress. French seam and hand-stitch techniques were used for a couture look in the finished dress.

Materials 100% silk chiffon for digital printing and silk threads

Reference Kirke, B. (2005). Madeleine Vionnet (3rd ed.). San Francisco, CA: Chronicles Books.

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Tale of Two Towers

Designer: Paivy Pedersen, Sponsor: Dr. Adriana Petrova, Oklahoma State University, USA

Keywords: smocking, Eiffel Tower, Tatlin, Illusion

Purpose of the Piece: The purpose of my piece was to create a gown that was inspired by both the Eiffel Tower and the Tatlin. I admired both pieces minimalist appearance that is shown through their skeletal structure, the buildings appear so simple, yet are so complex. Both buildings are more pieces of art than actual buildings with meticulously placed beams. I wanted to reflect both building’s structures in my garment, while keeping it soft and feminine. For both buildings, the shape is roughly that of a triangle, so a ball gown with a tight fitting bodice and flared skirt seemed to be the obvious choice.

Design Process: The idea for “Tale of Two Towers” was to create a garment that seemed to increase in size as it neared the floor. This was created by the aid of expanding the size of the smocking as the gown neared the floor. The top was kept close to the body to help with the illusion of height, with the smocking detail at the shoulder being small scale. The process began by first draping the skirt in muslin to achieve the correct fullness, then the skirt was split for the two different sections. For the smocked section, the length and width were multiplied by percentages determined from a smocking sample (percentages changed for small, medium, and large smocking). The bodice was kept simple to balance out the skirt, but to keep the garment unified, a decorative asymmetrical shoulder strap was smocked and placed on the bodice to give the illusion of being weaved throughout the dress. The garment was treated as two separate pieces; the brown smocked section was separate from the seafoam green bodice and skirt section (this is also the side where the zipper is installed). To give the garment extra volume, a ‘mini crinoline’ was fashioned out of a hula-hoop that is placed under the garment.

Techniques Used: For this piece, techniques used for the construction included both draping and flat pattern. Although all patterns were originally constructed with draping, flat pattern making was used in multiplying the smocked pattern piece to its correct proportion. The draped muslin of the skirt was transferred to drafting paper to be multiplied appropriately then separated into their respected pieces. Notable finishing techniques include both smocking and hand sewing. Although machine sewing was used for assembling major pieces together and for instillation of the zipper, hand sewing was used in the smocking, attachment of shoulder strap, tacking of pleats, and finishing both hems and lining.

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Materials Used: The materials used include two colors of cotton fabric for the garment, canvas and boning for the bodice, a hula hoop, ropes, and a snap for the crinoline, and a zipper for the garment.

Date Completed: May 2010

Measurements: Bust 35 inches Waist27.5 inches Hip 35.5 inches

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Uniform Exposure

Brianna Plummer, Framingham State College, USA

Keywords: Design, Art, Structure

Uniform Exposure is meant to be viewed as an art piece; through gossamer fabrics an x-ray like analysis provides an understanding for the structure of the garment. Stylelines are exposed as architecture and details are enhanced as focal points. When viewed in this medium the importance of the garment shifts from the surface design to the construction.

This design came from a series of art pieces where the silhouette of the garment relied heavily on the structure within. This particular piece examines the structure in relation to the construction of the garment rather than silhouette. The viewer is invited to examine the intersecting seams and shapes in a three dimensional model. The style of the military jacket was chosen to be in juxtaposition with gentle fabric and feminine accoutrements.

The jacket was draped with the fit and proportion that represents the trend in military fashion. After the muslin mock up was finalized the jacket was constructed in silk organza and synthetic suede using various seam finishes. The contoured waist, shoulders, and silhouette of the jacket are further identified by the suede bias trim stitched with a nontraditional blanket stitch. Garters and bra hooks, notions typically used on female undergarments, are brought to the outside and used with monochromatic color a scheme which allows the eye to focus on the intentional detail placement.

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Cardboard Countess

Calli Roche, Colorado State University, USA Keywords: Corrugation, cardboard, corset, Chrysler building

I began with an image of a man carrying his life on his back. In my mind’s eye, I watch him lay his cardboard bedding down, and my focus drifts to his surroundings. He is in New York at the base of a magnificent steel structure, a pinnacle of wealth and a nod to the economic success of the United States through the ages—the Chrysler Building. The contrast between this man and this building was the inspiration for my design. With New York as the fashion and economic capital of the United States and with our country in economic stagnation, the idea of finding beauty amongst what was once thought of as waste enthralls me. My desire was to combine the beauty of art deco and the architectural inspiration of the Chrysler Building in New York with the corporeal and earthiness of cardboard corrugation.

With all of this juxtaposition bouncing around my head I proceeded to make a corset entirely out of recycled cardboard corrugation and duct tape and a six-gored floor length skirt out of polyester satin. I cut the corset pattern pieces out of the cardboard corrugation at different angles so the grain of the corrugation met at points along each seam to further add to the art-deco aesthetic. Then I taped them together with the hand-made duct tape piping in between each piece.

The final piece is an expression of the coexistence and sometimes even the amalgamation of wealth and poverty; corpulence and deprivation; pulchritude and simplicity. At a time when so much is wasted and thrown out even in the presence of great necessity, this piece expresses my desire to continue to discover the refinement amongst the rubble.

Measurements: 32” Bust, 26” Waist, 37” Hip

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Laundry Room Luxury

Calli Roche, Colorado State University, USA Keywords: Dryer sheets, Recycled,

It recently came to my attention that the average American produces almost five pounds of garbage a day. That’s nearly one thousand eight hundred five pounds a year. Living in the dormitories on a college campus, I would speculate that the numbers for an average college student are much higher. The idea of using common trash and turning it into to something beautiful and wearable appealed to me. I decided that few items would be better to turn into clothing than something that already comes in close contact with clothing on a regular basis but whose recyclability or environmental impact is rarely considered. The inspiration for this garment was the material itself—dryer sheets.

I was doing my laundry in the dorm laundry room when I wondered what other things dryer sheets could be used for aside from an effective slipping agent that sent me flying on more than one occasion when my foot came in contact with its careless placement on the floor. I knew it was often felted, but I wondered if it had ever been sewn. My idea was born. I made countless trips to the laundry room to collect the dryer sheets that so often were left on the floor. I risked embarrassment and bacteria as I dug through the trash for the sheets. Once, I even got stuck upside down behind a washing machine to collect the sheets found there. Finally, I collected enough to construct a dress.

In order to sew the flimsy nonwoven sheets, I stacked them on top of each other, staggering them inches apart to create a piece of fabric both thick enough and large enough from which a pattern piece could be cut. Matching up the staggered pieces, I sewed the bodice together, using an invisible zipper as a closure. Dryer sheets were sewn to a thin muslin underskirt to create the skirt of the dress. The fun, fit and flare end result is a nod to recycling, reclamation and the beauty found in what some might consider trash.

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Measurements: 32” Bust, 26” Waist, 37” Hip

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The Influence of Japan

Mary Rossetti, Department of Fashion Design and Merchandising Virginia Commonwealth University, Richmond VA.

Keywords: Design, Sportswear

Japanese youth cult clothing and anime have a strong influence on not only current trends but current styles within the fashion market. This three piece structure was created for the contemporary sportswear and street wear market. It was inspired by the Japanese youth cult movement and Japanese anime movement with a particular emphasis on the Japanese Samurai. The designer used metal zippers to symbolize the intricacies of the metal in armor, and the flaps remind of us the ancient Samurai military outfit, now used in many Anime cartoons, video games, and movies.

There are over 60 inserted metal zippers used throughout the top of the garment. Each metal zipper is inserted within a ½” of each other. The yolk of the top is made of lightweight organza which holds the weight of the heavy panels. The pant’s texture is reflected in the pleating and pin tucking process, and the Garment is topped off with a grey suede leather jacket with yoke detailing.

The project was created in the Japanese Anime class at Virginia Commonwealth University School of the arts fashion class. The class was responsible for the research and technical execution of the garment. The garment was sponsored by Cotton Incorporated, which meant that at least 60% of the garment needed to made of cotton. The critic for the class was the Executive Director of Global Wise, Andy Yu, and the designer, Mary Rossetti received the critic’s choice award for this garment. She also won a $2,000 scholarship from Cotton Incorporated.

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Goddess Gown

Mary Ruppert-Stroescu, Lasell College, USA

Keywords: Draping, Dance, silk, gown

Purpose: The primary purpose of this piece was to provide an accent for a dance performance where a goddess figure would, with grand sweeping gestures, enchant the dancers and make them fall asleep. My personal purpose was to draw upon the draping techniques I learned in Paris taught to me by women who had worked for the house of Grès.

Process: Discussing the project with the dance concert’s creative director gave a good idea of the parameters of the piece. Because the term goddess was used often in the conversation, I went to the library and researched goddess gowns in Harold Koda’s book, Goddess: The Classical Mode. At the next meeting with the creative director, I showed conceptual draping and my research sketches and we agreed that the direction was in accord with her vision for the piece. As I draped the final gown, I sent her process pictures as well.

Techniques: This piece was entirely draped on the mannequin. I began by draping the habotai silk of the main body. The second fabric I used was the silk chiffon, which I draped from the neck to the bust and under the arm to the wrist, cupping the habotai sleeve to provide a dramatic effect. The silk gauze was used to cover the upper arm and create volume. I draped in final fabric by folding the fabric in half and marking everything with a basting technique I learned in Paris. Assembly was a combination of hand and machine basting and stitching.

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Wealth and Happiness

Paula B. Sampson, Ball State University, USA

Dress, jacket, Asian-influenced, draped

The goal of this design was to create a cocktail ensemble from coordinated fabric. The designer used 3 variations of the purple satin fabric with red floral embroidery: 1) an all over motif, about 30 “ wide, 2) a 16” width with 8” motif, and 3) a 4.5” strip with a single motif. A coordinate fabric of red stripe (alternating satin and plain weaves) was also used. Materials were primarily polyester. The designer played with many ideas through sketches. Design ideas from manipulating ways to use the fabrics were explored. Some of the options considered included: making a solid color dress with purple over garment, using bias grain to highlight the striped fabric, use both the embroidered fabric and the striped fabric in a variety of ways. Experimentation with proportion of the embroidered fabric to the single colored fabric was pursued. Ultimately the use of more embroidered fabric to the plain fabric was found to be the most pleasing. Fabric colors and style of floral motif suggested an Asian–influenced design. Observation of the traditional dress of several Asian countries followed. Analysis showed some recurring themes found in the traditional dress– simple design lines, long length, standing collar, ornate fabric, diagonal design lines, cap sleeve. Although this design was to be Asian in it’s feel, the designer did not want to exactly replicate an example of Asian dress.

Ultimately some of these themes emerged in the final designs. The long length, standing collar and cap sleeve are seen in the dress. Dress is reminiscent of the Chinese cheongsam, although it is different (shorter, no side slit in skirt, different neckline treatment). The diagonal lines are seen in the jacket. Both garments use ornate fabric with simple design lines.

Widths and amount of fabric pieces influenced design. The amount of fabric on hand ranged from 3 yards for the 8” motif, to 15 yards for the strip. The width of the pieces also impacted the designs and where they were ultimately used. For example, the all – over piece, limited the amount of fullness that could be used because of the 30” width and only single lengths

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could be used because of the limits on fabric yardage. It was wide and long enough for slim dress panels. Avoiding interruption of the embroidery pattern was also a goal. The 16” widths worked well for princess seaming of jacket, with a single width used for each princess section, as well as, the sleeves. The narrowness of the strip suggested use in multiples, such as insets, or a created fabric. This suggested a lot of design possibilities. The decision was to use the strip to create woven sections for the sleeve cuffs and the jacket peplum. The strip was also used for the collar. Design was draped. The garments were developed to fit an asymmetric body so patterns were needed for all four quadrants of the body. Although the design is symmetrical, the asymmetry of the body created some variance between halves. The dress is a sheath with self-cap sleeves, band collar and V-neck. Shaping comes from waist darts and shoulder darts. The collarless jacket, opens on the left princess seam. The jacket peplum bells slightly as do the kimono sleeves (below the elbow). There is piping in the princess and shoulder seams of the jacket. The red piping was self-produced. Strips were piped, woven, and then sewn to red cuff and peplum pieces. Red squares on weaving have batting sewn behind them to fill them out. Without the batting, they were recessed and deemphasized. The finished dress was longer than originally planned. The plain purple satin below the embroidery was not cut off as originally planned. It provided a needed counterpoint to the busy embroidery pattern on the rest of the dress. This altered the proportion of the original concept. It became more noticeable when viewing the ensemble with the jacket. The jacket needed to be longer to maintain a 2 to 3 proportion. This led to preparation of a second, longer, woven peplum. The weaving was developed to leave a two-inch space between strips, allowing the red fabric to show through, creating red squares. A template was created to aid in positioning the strips. Two methods were used to attach the woven strips. In the first version of the peplum, the fronts and back sections were stitched separately. The angles had to be matched at the side seams. The second weaving was done in the round, or over all sections at once. The angles in the back are not as acute when done this way, but reduce the number of seams with weaving in them (and the bulk). The piping cores varied between the first and second versions also. To achieve the desired size, with a smooth finished surface, the first version used rat-tail cord, doubled and sewn together. The core had a tendency to twist and create unwanted bumps. The second version used drawstring cord as a core. It was much more consistent in size and shape than the first version, but was also much stiffer and less flexible. That led to one of the challenges, reducing bulk in seams and at edges. The addition of batting with the piping made it impossible to achieve a sharp edge. It required the usual trimming, grading plus machine understitching followed by hand understitching to keep the edges from rolling. Jacket has red braid frog closures, plus snaps. There was an invisible side zipper in dress. The peplum, neck, center front edges, collar were interfaced. Both garments were lined with striped fabric. Page 2 of 2

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Fractal Bride

Eulanda A. Sanders, Ph.D., Colorado State University, USA

Keywords: Felting, Chaos Theory, Bead Embroidery

Fractal Bride belongs to a series the designer has created to explore the chaotic process of felting. This ensemble employs both wet and dry felting methods: shibori felting and needle felting. Although the process of felting is systematic the results may be inconsistent and dependent on the fibers, heat, pressure and friction, which are often chaotic. The collar of the dress was machine knitted into three strips then felted through a resist method to prevent areas from felting. The collar was embellished with dangles of seed beads in three different shades of white. The dress was machine knit from the neckline down, and then stitches were dropped along the hemline to create “runs,” like in stockings, upward. The “runs” were secured with dangles of seed beads. The garment was accessorized with a hand needled felted belt created from merino wool fibers, and then bead embroidered with arcs. 100% merino wool and glass beads were used to create this ensemble.

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Thinking Outside the Shibori Circle

Eulanda A. Sanders, Ph.D., Colorado State University, USA

Keywords: Felting, Shibori, Business Wear

Thinking Outside the Shibori Circle is the designer’s attempt to transfer her wearable art felting into marketable ready to wear garments. This ensemble is for a metropolitan female target market ages 35 and older that mainly purchases separates. The target consumer likes business wear inspired by trendy and outdoor sports inspired garments. Asymmetrical jacket has a stove pipe collar, bell sleeves, bound edges (often found in technical outwear garments) and is created from a quilted water-proof nylon, a non-traditional material for a business setting. The fully lined wool pants have a stovepipe silhouette and side zipper. The ensemble is accessorized with an exaggerated three strand fuchsia shibori felted scarf. Traditional flat pattern and computer- aided design techniques were used to create the jacket and pant pattern; while wet felting.

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Neo Anthology

Hannah Schmidt, Melody Forehand Texas Woman’s University, USA

Design, Sculpture, Paper, Dress

Purpose:

As members of the event planning class at Texas Woman’s University, chairs for the aesthetic committee were tasked with creating theme garment for the upcoming Senior Fashion Show, Neo*Anthology. The show was set to take place in the beautiful Mary Evelyn Blagg-Huey library on the University’s campus. The Blagg-Huey Library is an elegant structure with a large rotunda, beautifully marble tiled floors, a double staircase, and soft lighting streaming from gold chandeliers. Schmidt and Forehand created and designed the garment, drawing inspiration from not only the library itself (essence and architecture) but also from the library’s patrons. Antiquity and effortless beauty were to be the overall themes for the finalized garment. The garment was meant to look as though loose pages from an old book or manuscript simply “fell into place” creating a striking piece of wearable art.

Process:

After specifications from the event planning class were finalized, a concept photo was chosen as inspiration and techniques for constructing the paper dress were researched. A flat drawing was sketched and sent to an illustrator for a final rendering. The patterns for the foundation were made for a size 6 dress form (simple bustier and circle skirt), and a muslin was created. The foundation, cut in cotton fabric, was then pinned shut onto a dress form and using torn pages from recycled books; the designers began to paper maché over the foundation fabric. The bodice required four layers of paper maché, letting each

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one dry in between. After the bodice was completed, design details were added on the bodice front left and the dress bodice was cut down the center back in order to create a closure. A second bodice layer of cotton broadcloth was sewn and pressed, and inserted into the paper maché dress to create a lining layer. The layer was hot glued along the upper bodice edge to maintain security. Two layers of a cotton muslin were used in the design of a circle skirt used as a foundation for the under-dress. The bottom layer of muslin serves as a paper filled “crinoline”. Ripped and crumpled butcher paper was used to create volume so that the skirt would stand out from the body. A hoop skirt, consisting of three concentric circles of boning, was also created to help support the weight of the skirt. The top skirt was created by hot gluing full pages of loose leaf recycled book paper at different angles from low hip to hem. Once the muslin was fully covered, designers added details such as curling randomly placed pages and inserting folded fan pages. Lastly, the grommets were put in place down the back of the dress and a double faced cream satin ribbon was selected for lacing.

Techniques:

The techniques used to create the dress included flat patternmaking, muslin sewing, paper maché, hot glue, hardware (grommets), cutting, ripping, folding, crumpling, and rolling of paper.

Materials:

The materials used for the dress included muslin, interfacing, boning, lining, book pages, glue solution for paper maché, hot glue sticks, butcher paper, grommets, ribbon, and wire.

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Giglio

Sherry Schofield-Tomschin, Kent State University, USA

Keywords: fresco, batik, fleur-de-lis

I had the wonderful opportunity to teach in Florence, Italy during fall semester of 2009. The classrooms were situated within the beautifully renovated Palazzo dei Cerchi. The building is characterized by outstanding medieval features; the second floor hall is paved with stones from the 13th century and most of the wooden ceilings are decorated with precious tempered paintings and frescoes. They represent medieval life scenes, ancient Florentine families, coat of arms and decorative elements. There was a partially intact fresco in a corner of a room that intrigued me the most; a circle motif with intertwining lilies and vines. The symbol of Florence is the lily (Giglio in Italian), a variation of the fleur-de-lis, so this motif seemed the appropriate design to reproduce. So the goal of this project was to reproduce this design on fabric and use the fabric in a garment.

The first step was to interpret and sketch the fresco. I simplified some of the details that were completed with individual brush strokes, and filled in where details were missing or unreadable. The second step was to determine the technique for the design creation. I decided to use batik for two reasons; 1) the technique creates fabrics with a crackle or veining appearance that reminded me of the original fresco, and 2) because batik, like frescos, requires two products (wax and dye compared to plaster and pigments) and a laborious procedure to create unique designs.

The repeating design was transferred as a border print to four meters of silk broadcloth. Different areas were waxed and submerged in dyes in a controlled process to manipulate the final design and coloration. Some areas were colored using silk painting rather that by dye submersion to get an effect more indicative of the fresco. Once the border was complete, the complete yardage was quickly placed in a dye bath with a limited liquor and space ratio so that the dyeing was irregular and more closely mimicked the veining appearance of the border, as well as to resemble many of the stucco structures in Florence. Once complete, the wax was removed through ironing and dry cleaning.

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The final step was to take the completed fabric and design a garment. Continuing with the lily theme, the dress was designed to duplicate the shape of a lily. To create the petals, the fabric was sewn between the motifs to create a fluted shape for the skirt. Similarly, the fabric was sewn with curved seam between the motifs to create the curved petals and the resultant cape. The seams were reinforced with Rigilene to maintain the curved shape. The cape has the edges piped in green. The cape is attached only at the hipline. The strapless bodice is constructed from silk duppioni, and also has piped edges.

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Curly Little Black Dress

Mackie Schomburg, Jane Matranga

Stephens College, Columbia, MO, USA

Keywords: Organza, Satin, Curls

Young women enjoy dressing up, going out and becoming the “head-turner” of the night. The purpose of my project was to create a dress for women who are looking for a cocktail dress that is attractive and unique.

The Curly Little Black Dress was envisioned to be a feathery eveningwear design with attitude. My initial plan was to create a black dress with tiers of feathers and a double stand collar that also was covered in feathers. My instructor persuaded me that attaching feathers was too time- consuming for our first pattern making class, and it would cost more than expected. My challenge, then, was how to create the look of feathers without actually using them. The solution was to work with transparent polyester organza which was the perfect choice to enhance my design.

The design, which was generated through flat pattern, consists of a black satin bodice with princess seams, a jewel neckline in front and a low neckline in back. The straight skirt and puffed sleeves, cut from black organza, have a second layer of organza that was topstitched on the base skirt and sleeves and cut into strips. A curling iron was used to curl and heat set the strips. The curled organza, which was a nice contrast to the satin bodice, created a soft texture and added volume to the skirt and sleeves.

The end result was the perfect Curly Little Black Dress for special events for young women in their late teens or early twenties. The design could even be cut in different colors making it appropriate for an Easter dress or First Communion dress for younger girls.

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Hidden Adaptations

Jenna Shaw, M. Jo Kallal, University of Delaware, Newark, DE

Key Words: Adaptable, Sustainable

Concept: Within recent years, the concept of “fast-fashion” has emerged allowing designers to clothe the public while promoting constant sales through rapidly evolving fashions. Although the material and garment have lower quality and price, they still use the same amount of resources. On average, to produce 1 kg of textile and clothing output, about 0.6 kg of oil equivalent primary energy and 60 kg of water are used, and about 2 kg of CO2 equivalent, 45 kg of wastewater, and 1 kg of solid waste are generated (University of Cambridge, 2006).

One method to slow overconsumption is to prolong the life of a garment so fewer garments are needed. Combining higher quality construction with the concept of adaptability extends a garment’s life because it creates multiple styles, fits, and functions in one garment. Additionally, making the adaptable features hidden creates a more appealing garment that can be worn in more practical situations. To do this the jacket can be worn in many ways with removable sleeves, hood, and skirt. The skirt can be worn alone or as a variety of shirts, vests, and cloaks. The zippered hood can be worn similarly to a sailor collar. The jacket can adapt to multiple sizes using zippers at the side seams. The combinations of these features create many possibilities in how this garment can be worn. If the garment were to be mass-produced in multiple colors, the possible ways to wear the garment would be limitless.

Process: The initial jacket and skirt concepts were flat- patterned and constructed from muslin. The ideas for adaptability came from examining places of movement and locations of seams in normal garments. Also, it was a high priority to keep the notions and adaptable features hidden as well as possible so to appeal to more consumers. After changes were made to the notions specifications and size of the muslin, the garment was flat- patterned. The second prototype was flat-patterned with a new block and the patterns changed as fabric extensions were added to the cap seam of the sleeve, neck seam of the hood, and the waistband, to accommodate the use of snaps instead of zippers and buttons. The metal snaps are considered to be sustainable as they are biodegradable or recyclable.

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The size of the block was chosen to be an average of measurements used for a medium size from retailers targeting women in their twenties. Because the garment is supposed to be kept by the woman for a long period of time, weight fluctuation was taken into consideration. Instead of having to have the garment taken in or let out, the garment has 1.5-inch panels in each side seam that can be let out in either the bust and waist or hip and waist. This also allows for more layers to be worn underneath the jacket in cooler weather. The skirt’s waistband can be adjusted as its snaps are also spaced in 1.5-inch intervals.

Techniques: The jacket’s facings have ½-inch metal snaps around the armscyes, neckline, and hem. These snap to the ½-inch snaps attached to the 1 -inch fabric extensions sewn to the sleeve caps, hood, and skirt. Each piece that has a fabric extension mimics the shape and seam that a full garment has. For example, the sleeve cap extension is the shape of the jacket torso at the armscye, but is only an inch wide, so the sleeve is eased into this piece, as a normal sleeve would be. The snaps are then attached to the extension, where the extension then is snapped to the facing of the main torso. This construction gives the illusion of seams without any snaps or closures.

At the side seams, there are two invisible zippers that zip from the waist to armscye and waist to hip, with 1.5-inch wide fabric panels sewn between. When zipped, the side seam appears to be a normal seam. When unzipped, the 1.5-inch self-fabric panel is exposed, which accommodates for weight fluctuation or bulky under layers worn by the consumer.

The waistband of the skirt has snaps facing away from the body and to the inside so it can be snapped and worn by itself, and can be worn by different size people or at different waist or hip levels on a person.

Materials: 100% organic cotton, hand dyed with Global Organic Textile Standard approved non- toxic blue dyes, over 80 metal snaps, separating and invisible zippers.

The jacket and skirt were completed in April 2010. The body measurement ranges for size medium are: bust (35.7-37"), waist (27.5-29"), and hip (37.5-39").

References: University of Cambridge (2006), Well dressed?: The present and future sustainability of clothing and textiles in the United Kingdom (ISBN 1-9024526-52-0). (http://www.ifm.eng.cam.ac.uk/sustainability/projects/mass/UK_textiles.pdf) Page 2 of 2

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Moda A La Papier

Abby Sherrill, Auburn University, USA

Keywords: Paper, slashing, dress

I have always been attracted to a geometric aesthetic to inform my designs. In addition to linear shapes, I was inspired in this design by bursts of color and surface texture revealed through reverse appliqué techniques. Striving to use an unusual material for my submission, I designed a dress made only of paper. My intention was to create a piece that was creative and unusual but not obviously made of paper. I did this by creating texture with the paper and using it in unconventional ways, primarily through cutting. I started by creating a stable foundation of packaging paper using flat pattern and draping techniques. I then layered pieces of colored tissue paper and sewed a gridded design on the surface. After sewing the entire garment, I used cutting and slashing techniques within the sewed grids to create a raised effect with the tissue (Image 1). Paper beads were made by rolling triangles cut out of magazines. The beads are hand-sewn on edges (Image 2), at the waist and on the headpiece. The folded paper peplum was made folding packaging paper and cutting the design by hand with a Xacto knife. I used packaging paper, tissue paper, magazine pages, and thread.

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Minimize: Garment Design and Research

Sandra Starkey, University of NE in Lincoln, U.S.A.

Key Words: Conservation, Versatility, Shape

Fabric conservation and versatility guide the design process for a distinctly geometric garment appropriately entitled Minimize. Inspiration is derived from a research-centered approach based on minimal fabric waste and utility. This garment is designed for the active woman ages 28-58 that travels and is interested in versatile clothing options with style. She recycles, reuses and considers her wardrobe an investment, opting for uniqueness and longevity over fleeting trends. She is physically active and likes her clothing choices to reflect her healthy lifestyle. She shops the bridge department in department stores and spends her money in boutiques. She is willing to pay for quality construction and timeless details in her wardrobe.

Through research, I found the work of designer Yeohlee Teng particularly inspirational. Her garments share many commonalities with architecture and structural art with an unconventional approach that incorporates form and utility as priorities. Her reverence for the fabric always results in the avoidance of unnecessary cuts or darts. Based on conservation in every sense, her garments are created with the smallest amounts of fabric waste and are created to be worn as daywear, eveningwear and from season to season. Teng detests the term “special occasion” claiming that this category deprives the wearer of versatility and utility by prescribing a limited time and manner in which a garment can be worn. It is from this design aesthetic of conservation and utility that I approached my design development. My design utilizes nearly the Page 1 of 3

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entire fabric yardage required for completion, 2.45 yards at 63 inches wide. Four circles and a tear drop for the neckline can easily fit in the palm of one hand. Some of this extra fabric was incorporated into binding or edge finishing. Practicality and versatility are built into my garment to help the consumer justify the expense. This garment can be worn as a dress with the back tie hanging freely or the ties can be pulled through the circles under the arms for waist definition. After a day at the beach it can be worn as a swim cover-up. On yet another occasion it can be worn as a tunic with leggings. This garment can be rolled or folded and will not wrinkle when packed in a suitcase and is the perfect option for the traveler that spends her day on the beach and needs something to ward off a slight evening chill. True to the purpose of the project, the garment is wash and wear, 100% polyester knit with a surprisingly soft and comfortable hand. Paris Fashion Week, fall 2010 RTW, provides evidence that many designers to include Haider Ackerman and Lanvin are simplifying their designs in favor of architectural interest. My design mirrors this design aesthetic and gives my customers the best of all worlds, fashion combined with versatility and style.

References Chin, Victoria. 2005. “Yeohlee: For Models with Style and Substance”, Asia Arts at UCLA, www.asiaarts.ucla.edu. Joseph, Victoria. 2009. “From Business Week to Forbes: Yeohlee Teng is a Fashion Powerhouse”, www.stylello.com. Preddy, Melissa. 2010.“Finding Spring Retail Trends at Apparel Stores”, www.businessjournalism.org. Sheeler, Jason. 2009. “Five Questions: New York Designer Yeohlee Teng”, www.dallasnews.com. Style.com, Paris fashion week, fall 2010 RTW. Teng, Yeohlee. Yeohlee: Material Architecture, (Mass.: Antique Collectors Club Ltd.2003).

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Northvest Nature

Bailey Stokes and Catherine M. Black,

Washington State University, USA

Keywords: Wire, weaving, nature, texture

I wanted to explore a unique way of constructing an outerwear garment that would hold its’ own shape, not needing body support, while creating an aesthetically unique surface. Structural and textural differences are emphasized in the contrast between the pre-formed vest and the body hugging knit dress. Nature is represented in the unusual silhouette and surface texture of the vest which represents something growing in a forest of the Northwest.

A wire frame was constructed on a dress form then shaped to create the silhouette and foundation of the vest. The frame was covered with strips of cotton fabric by tying knots repeatedly around the wire. Reinforcement of the frame intersections was also achieved by the knot tying process. Once the frame was covered, strips of cotton were then hand-woven to fill in the vest. The dress trim hem was constructed to emphasize the look of nature using small scraps of fabric to create a surface appliqué.

Pattern making techniques included draping the vest and flat-patterning the dress by altering a knit block. Two techniques were used to create a unique aesthetic style of this garment. Hand-weaving was used for the vest and surface appliqué was used to create a trim at the hem line.

Materials used included plain weave 100% cotton fabric, thermal knit cotton fabric, cotton thread and wire.

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Phantasmagoria

Eri Takebayashi, University of Hawai`i, Mānoa

Keywords: hand-made fabric, silk painting

The purpose of this piece was an embodiment of a sequence of deceptive images seen in a dream and vague fragmentary afterimages left in a web of memory. All the motifs on this dress represent enigmatic broken pieces of dreams you see in a trance. Subtle color scheme express the afterimages fading away as you come to your senses. This design emphasizes hand-paintings and hand-made fabric. I made the cut simple to complement the surface design and the silhouette of negative space created by paintings. I consider this garment as an art piece, and the wearer as a storyteller.

I started with collecting different elements that gives me inspirations; different materials, colors, silhouette, and drawings from my sketchbooks. I like to draw imaginary creatures and make up stories with those characters. I decided to make stories through garments, and express my creativity. I consider human body as one-of-a- kind living art form, and it can be much more interesting and special with garments. I painted fabrics freehand with Japanese traditional color palette to represent delicate and evanescent images of dream. Ensemble cardigan was inspired by dream catcher and made by using water- soluble materials.

The dress pattern was made with the block pattern technique, and I revised muslins many times until I get the desired silhouette. Hand painting was done using special brush made for watercolor pencils and fabric paints from Japan. I painted directly on cut pieces before they were sewn up into a dress. Whole painting was done in one sitting to keep the colors consistent. The cardigan was made with fabric strips, cutout lace pieces, elastic band, and threads to hold everything together. First, I made a center piece with lace pieces I cut out, and all other strips of fabric were carefully placed on water soluble material, covered with another piece of water soluble material, stitched over with different color threads, and put in a water to rinse away the materials. Only the little pieces and threads were left at the end. Flowing designs created by

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innumerable stitches drape over skin softly and complement femininity and beautiful curve of women. The garment is completely lined and clean-finished.

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Creating the Spark, not Filling the Bucket.

Jo Dean Tipton,

I watch my world grow more interesting and satisfying, as I see students I taught as freshmen 3 years ago turn the corner into their junior and senior years in fashion design. Their boundless energy captured and focused into a garment is what brings me to work. It will all unfold in front of me. I am just the facilitator.

As I walked up to the school the other day, I saw down the sidewalk, a man carrying an exquisite mint green bag. It was large, but he was large. This bag had texture, and I wondered what it was made of. As I turned the corner to go in the big glass doors, I realized he was preparing to water the flowers, and the interesting green shape was garden hose, wound and held by his hand. When did they start making garden hose that color?

I passed the classrooms, taking notice of possibly shoe boxes that had been spray painted black, and were being mounted as sleeves on a starched muslin dress. All it needs now is a hat made of wheat and an expensive necklace. I see my life will become more valuable since I taught that student to sew last quarter.

Next doorway, long strips of several colors are being married in the serger. And someone yelps, their machine needle has broken.

I arrive at the room full of dress forms, lines of thin black tape dividing their bosoms, waist, and buttocks.

I clunck down my plastic sewing kit, and watch my rolled up patterns take a dive off the table. I put on my name tag, and begin writing our class tasks on the board. It is a glorious day.

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Lemur Dress: From Sketch to Garment

Georgia Trimble, Stephens College, USA

Keywords: Lemur, Recycled, Sweater

The Lemur Dress began as an idea, inspired by an assignment for Fashion Drawing class. The drawing project started with a series of four buckets lined up on the floor of the drawing room. Each bucket contained strips of paper with target markets, price points, sources of inspiration and apparel categories. The assignment was to draw from each of the buckets and create design five cohesive garments. The unique selection for this dress collection was African Americans, couture, exotic mammals and sweaters. I decided to design sweater dresses based on a few not-so-cliché exotic mammals for inspiration. The Lemur was one of my animals

Some time thereafter, it came time to design five dresses for the Draping and Patternmaking class. The same professor taught both classes and she urged me to take the conceptual drawing of the Lemur Dress into reality. First I had to decide how to fabricate the dress. The most ideal solution was to use completely recycled materials from sweaters purchased at vintage shops. After all the sweaters had been found, the patternmaking process began.

First, the torso sloper was traced and manipulated into a knit torso sloper with the model’s measurements. Next the model stood while the seam lines were traced over her and carefully marked, measured and transferred to paper. Said seam lines included the front bodice detail, the back pieces and the sleeve pieces. When everything was completed, the muslin was made.

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During the fitting process is when the dress began to take on a life of its own. Several unanticipated problems arose and soon, it was clear something needed to be done to stop all the stretching. It was decided to try fusible knit interfacing on every piece as well as seam tape on every seam to hold everything in place. With these adjustments made, the mockup finally fit correctly and the dress began to seem possible. (Insert image 1 about here)

With the pattern complete and the mockup fitting my model correctly, I cut the pattern pieces from the recycled sweaters. Fusible knit interfacing was applied to each piece and the dress was assembled using seam tape on every seam. Lastly, I produced a blanket stitch around the bottom with grey yarn.

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Vineyard Vows

Sandra Tullio-Pow, Ryerson University, Canada

Keywords: Dior, wedding, gown

Purpose of the piece: The design objective was to fashion a contemporary gown for a non-traditional, outdoor wedding, situated within a vineyard in a small township, rich in historical significance.

Design Process: The client conveyed specific design preferences with notable distaste toward conventional bridal designs featuring lace, ruffles and excessive embellishment. To meet this design challenge, inspiration was taken from the overt simplicity and exquisite proportions of Christian Dior’s gowns, with specific attention to the use of classic Dior roses as ornamentation. A family heirloom rhinestone pin was selected to adorn the dress front.

Materials and Techniques Used: The gown was fabricated primarily from silk organza. Shade matched georgette was gathered along the front bodice. Using flat pattern drafting, vertical darts were pivoted into arched princess seams at the empire line, with a focus on fit through the waist and upper hip, before flaring into an eight gore skirt. The method used to construct Dior inspired roses from bias strips of fabric was learned from a very senior seamstress tutor who had perfected the technique creating her own daughter’s wedding gown. Rose petals and blossom centers were enhanced with delicate beading. Each flower was then hand tacked in an asymmetric cascade following the deep curve of the back neckline. Small self covered buttons were sewn onto the lap zipper to complete the detail cluster on the back of the dress, which, when covered by the veil, provided a subtle, yet elegant focal point for guests viewing the ceremony.

References Chenoune, F. (2007). Dior. New York, NY: Assouline. Palmer, A. (2009). Dior: A New Look, A New Enterprise. London: V&A Publishing. Page 1 of 1

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Apocalypse Amazon

Kate VanAsten, University of Wisconsin, Madison, USA

Keywords: Apocalypse, distress, recycle

Inspired by the end of civilization as we know it, Apocalypse Amazon appears to contain the tumultuous story of an invincible warrior- woman within its fibers. It has a silhouette and flowing skirt like a formal gown, but hostile leather armor and shredded layers spoil the feminine essence. It signals a palpable warning that this Amazon is more brute than delicate flower and will not restrain herself for the sake of her clothes.

All materials are from found objects and are meant to hang haphazardly from the body as though hastily and inexpertly constructed. I took apart a pair of sneakers and began to place them around the body until I found a place they fit: the curve of the laces fit into the curve of the waist. These became a cinch. I deconstructed an old leather jacket, twisted the collar around, and covered it with hex spikes. For the dress and overskirt I dyed polyester curtains and nighties from the thrift store to look dirty and then set them on fire. The dress was draped on the dress form.

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One-of-a-Kind Design by Repurposing of Damaged Garments and Accessories

Nga (Angie) Vu, University of North Texas, USA

Keywords: Design, Eco-Friendly, Repurposing, Unique

According to the Council for Textile Recycling1, here are some startling facts regarding textile waste in the US annually: * 21 billion pounds (10.5 million tons) average out to 68 lbs per person representing 5% of total solid landfill waste * only 2 million tons are being recycled * of the clothing being recycled, 48% being utilized for second hand, 20% being processed into rags, 26% of quality material such as wool are reclaimed back into fiber for new uses * most clothing being recycled are done through clothing collection agencies, most effective through curb-side pickups * damaged clothes usually are not recycled, most agencies don’t accept them and retailers usually discard them. To help minimize the amount of clothing being tossed into landfills, my goal is to repurpose damaged garments and accessories into different usable or wearable items. Other benefits of repurposing of damaged items are to save money, to help reduce the amount of virgin materials that are being produced to make new items, to increase design creativity and work with the latest fashion and materials, and to create a one-of-a-kind item. With my background in fashion design, jewelry and metals, I look for damaged garments and accessories like purses and belts to make a unique dress. Here are the before pictures of the materials to be used and how I came up with the design:

When shopping at NBC2, I found the beautiful sequined dress with a damaged zipper and a missing back bow for $9. The bottom of the skirt was perfect, I loved the low cut in the back. I decided to keep the bottom and looked for other materials to change the look of the top. I bought a brown satin dress also with a damaged zipper for $3.00 to use as muslin and lining. To incorporate some metals & jewels stuffs in my designs, I thought about using metal closures since the sequins already contribute to the jewels portion. On my second trip to NBC, I began to

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look for items with metals in them such as belts and purses, and I found several brown purses that matched the color of the dress perfectly. I bought 4 purses at 99 cents each. The purses all have broken handles, and one has a damaged decorative zipper. These are the only 4 brown ones that matched the color, so I purchased them all hoping I have enough materials to work with. One of the purse had a unique princess design in front with exposed zippers as princess seams but one of the zipper was damaged. This gave me an idea to use princess design for the front of the top. The decorative zipper sections gave me the idea to use sequined insets to create a transition from the bottom up. The limited availability of the vinyl/leather from the purses led me to choose to use bands for the back. The criss-crossing was a necessity to add extra enforcement of the backless design when using the front flaps as closures as you can see in the finished dress. For the closures, I was able to salvage the latches from a couple of damaged straw purses that I have purchased a while back for 25 cents each. I’ve decided to replace the heavily sequined band outlining the low cut area of the dress bottom with the brown vinyl/leather and made the bands to similar widths to create overall uniformity. I began working on my design with the sequined dress on a dress form. I cut up the self layer of the satin brown dress to use as muslin. When I was satisfied with my design, I cut up the purses one small sections at a time to make sure I have enough materials to cover all the pieces. After that, I used the lining of the satin brown dress for lining. To add the finishing touch, I salvaged the 2 side buckled components that were used as part of the straps from one purse and added to each side of center front. This created a continuation of the sequined insets to the flowing of sequins below. Every materials used for the dress came from the damaged garments and accessories. Here is the picture of my finished project: What I learned through this repurposing project was what not to toss away. You can salvage and reuse everything, and save money along the way. My total cost for the project was $16.50 [$9 + $3 + (4 x 0.99) + (2 x 0.25)]. I saved all the unused items such as the silver metals pieces from the other purses, the purse zippers, the purse lining pockets with the zippers, the handles and others that I maybe able to use them for my other future projects. Overall, I probably saved about 5 lbs of textile waste if those damaged items were to be ended up in the landfill if nobody buys them. 5 lbs are like a pin drop of water in a lake compare to the 10.5 million tons of annual waste, but it’s still better than taking no action at all. What important is I ended up with a one-of-a-kind dress that I can be proud of and treasure.

References:

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1- http://www.textilerecycle.org/ 2- http://halfofhalf.com/UserPages/MainPage.aspx

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