2000 Proceedings Cincinnati, OH

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Cincinnati, OH USA 2000 Proceedings

DOGWOOD IN GREEN AND GOLD

Tammy Abbey Central Washington University, Ellensburg, WA 98926

The purpose in creating this piece is to design an elegant garment through the combination of two very different techniques, metalsmithing and sewing. This design was inspired by extensive study in both metalworking and sewing and by blooming dogwood. The garment can be described as a dark green, fully lined dress in a polyester crepe satin. It is designed with princess lines and a gold charmeuse godet in the back. The dress is strapless and supported by the metal "lace." The "lace" is formed with brass blossoms and leaves that wrap the shoulders and overlap the front and the back of the dress. Brass blossoms also accent the godet. Construction began with an original pattern which was hand drafted. A muslin test garment was sewn, fitted and used to adjust the pattern. The main body of the dress was sewn and an invisible zipper was installed. A godet was sewn into the back. A polyester lining was sewn and then added to the dress. After the body of the dress was completed, the metal work began. Blossoms and leaves were cut from sheet brass. Then each was individually chased (hand shaped with the use of hammers and tools.) The pieces were given a copper patina (coloring) and brass brushed to a matte golden color. A dress form was used to assemble a base web of brass chain onto which the blossoms were sewn into place with thread and wire. Two blossoms and chain were added in the back to accent the godet and to contain it. The back snap was hidden beneath a brass flower.

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Cincinnati, OH USA 2000 Proceedings

THE PRESENT IS A MIRROR OF THE PAST Soojeong Bae Chonnam National University, Kwangju-city, South Korea 500-757

This ensemble is women’s clothes designed after the image of the 19th-century men’s tailcoat. I tried to make this work balanced between East and West and between women’s and men’s, taking the image of a 19th-century men’s tail coat on the one hand and using the texture of oriental fabric, on the other.

The clothes are made up of a corset, pants, and a jacket and are designed and sewed not by using lining but by having a fabric be shown on both sides simultaneously. Generally, oriental fabric is more gorgeous on the inner side than on the outer side. By showing the image presented on both sides, I want to have the resulting effect more pronounced and varied.

In view of construction, the pants were made after the modern pants; the corset was made in a traditional technique with the modern touch of an irregular hemline. The jacket was made by draping, using no lining, and was finished neatly in a bias taping from the edge of the collar to the hemline.

While making the corset, I had to overcome the difficulty of fitting by having a model try on the corset repeated times during the fitting process.

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Cincinnati, OH USA 2000 Proceedings

CANCER

Jen Ballan University of Nebraska, Lincoln, NE 68583

"Cancer" is second in a series of garments designed to comment on "healthy lifestyles." The design problem was to create an anti-smoking dress. An assemblage process was used to make a bold statement against smoking. Cigarette wrappers and boxes were stitched together to create fabric for the fitted mini-skirt. Cigarettes were dyed and distressed, then treated with acrylic for stability. The cigarettes were then assembled into a necklace and a peplum. A triangle top completes the bold visual statement in red, blue, and metallic

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Cincinnati, OH USA 2000 Proceedings

TEA BAG Jen Ballan University of Nebraska, Lincoln, NE 68583

This garment, "Tea Bag" Dress, is one in a series of garments created for an advanced apparel design class. The purpose for the collection was a visual commentary on healthy life-styles. This gown is a statement about relaxation with herbal tea. The structure of the garment is designed to emulate a giant tea bag made of muslin and gauze. The garment is dyed and decorated with tea bags. Red random embroidery stitches serve to emphasize elements of the garment. The garment is built as a gallery piece with an unconstructed, organic appearance meant to suggest casualness and relaxation.

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Cincinnati, OH USA 2000 Proceedings

ROYAL JEWELS

Mel Barger University of Nebraska, Lincoln, NE 68583

Royal Jewels is a bold color statement that was designed after completing a trend analysis to predict colors and styles for the 21st century. The garment plays on geometrics while revealing and concealing various parts of the body. Vibrant sun colors with the contrast of royal purple banding create a complex configuration reminiscent of Gianni Versace’s strap dresses. The open gown was designed using the flat pattern method, allowing the bodice and skirt to be joined at the center front and center back. Controlling balance and proportion were visual problems that were integral to the composition. The utilization of sheer fabrics contributed color variations to the visual forms, giving a contemporary look.

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Cincinnati, OH USA 2000 Proceedings

Antonplant Kimono

J. R. Campbell Iowa State University, Ames, IA

"Antonplant Kimono" is the first in a series of garments that the artist is developing in which the surfaces of the fabrics have been digitally printed using the Encad 1500 TX wide format digital textile printer. The goal for this piece was to create a striking image that would be photographic in nature and would be engineered to match exactly across the seams of the garment. The standard kimono form was chosen as a starting point, not only for its historical relevance as a form of dress that has been the "canvas" for a number of complex and innovative compositions, but also because the straight vertical nature of the pattern pieces seemed to be an excellent match for a first attempt at digitizing a pattern and then filling it at full scale with the print.

The fabric used was a slightly translucent polyester georgette, so when viewed in certain lighting, the viewer can see through the garment to the matching image on the back side. Each pattern piece was developed and printed individually and then assembled.

The "antonplant" image was developed and manipulated with the intention of creating a connecting vine somewhat like a mobius strip or a celtic knot. It was then placed into each pattern pieces individually and maneuvered to match up to the joining image on the adjacent pattern pieces. This process was all done through the use of Adobe Photoshop. Due to immense file sizes, the artwork was developed on the computer at half-scale and then printed at 200%.

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Cincinnati, OH USA 2000 Proceedings

BRIDGE

J. R. Campbell and Jean Parsons Iowa State University, Ames, IA 50011

The purpose of this project was to explore a collaborative process using both two and three- dimensional approaches to creative design and to investigate the application of new digital printing technologies in the design of a jacket. The approach to this project was to integrate the innovative form of the jacket with the digitally manipulated surface imagery.

The collaboration provided a means to explore the intersection of two design problems and their potential for multiple points of departure. Both artists approached the project with specific goals related to their own discipline. These goals were (1) to create a short jacket style through manipulation of geometric fabric shapes on a dress form. This semi-fitted jacket would employ sharp intersecting angles and minimal use of darts. Garment size and shape would allow it to be worn by a variety of size and body types. The primary design concept was to develop structural seams with strong emphasis on diagonal line, (2) to use digital printing technology to manipulate the printed design by changing or distorting the scale of the imagery to match the directional lines on the garment pieces.

The print designs were inspired by the construction lines used in the garment. They were directly manipulated on the computer from digital photographs taken of an early 20th-century steel and wood plank bridge. The pattern pieces with imagery attached were printed directly to a lightweight wool tricotine. The shapes were then cut and sewn together to create the final garment.

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Cincinnati, OH USA 2000 Proceedings

TWO VENUSES

J. R. Campbell Iowa State University, Ames, IA 50011

"Two Venuses" was an exploration in developing layered imagery through the use of digital technologies. Merged photographs of the female human body, a draped fabric and a second person wearing a long dress were super-imposed to create a visual tension/confusion in which the viewer is unsure at whether they are looking at one woman or two. A third hand enters the silhouette at the hip-line and one of the legs seems to leave the dress at an odd angle and be chopped off. The photo-manipulated imagery was printed to a nylon/Lycra knit fabric using the Encad 1500TX wide-format digital printer for textiles. It was then stretched from the corners of the fabric to the interior corners of a rectangular shadow-box frame. The stretched and distorted fabric pulls the head and feet out of proportion to the body while the image of loose fabric is pulled tightly into two-dimensions.

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Cincinnati, OH USA 2000 Proceedings

IROQUOIS ILLUMINATION II

Melanie Carrico Kent State University, Kent, OH 44242

The purpose for designing this vest was to exploit certain properties of suede and make a vest with a surface design created via subtractive means, piercing and cutwork. The subtractive feature allows the wearer to control the color in which the design will appear by changing the blouse worn underneath the vest.

Iroquois Illumination II is a black pig suede vest with surface designs inspired by the motifs found in Iroquois beadwork. Simple motifs are placed in a vertical row down both fronts of the vest. Three knotted buttons and loops form the closure of the vest along the center front. One large motif, combining piercing and cutwork for variety in shape and line, is placed on the back yoke. The surface design of the vest was created by punching holes using a leather punch and cutting shaper with an x-acto knife. Suede was used because the raw edges do not need to be finished to prevent fraying.

The vest is unlined and has no facings since linings and facings would interfere with the appreciation of the surface design. Edges are bound with suede for a finished look.

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Cincinnati, OH USA 2000 Proceedings

31 JULY 1998

Melanie Carrico Kent State University, Kent, OH 44242

This wedding dress was custom designed and fit for the bride to wear in an outdoor wedding in July 1998. The bride desired a simple look using traditional bridal fabrics of lace and silk satin organza. For design ideas, research was done in the traditional and contemporary bridal markets.

The full-length off-the-shoulder ivory gown has a bodice of Guipure lace over satin and an A- line skirt of silk satin organza tiers on satin. There is a fully boned underbodice with a separate zipper to support the dress. All the satin pieces are underlined with cotton batiste providing material support and preventing seam allowances from showing on the face of the garment. Bodice pieces are cut to utilize the scalloped edges of the lace at the neckline, and, where needed, the edging is hand appliquéd along the top of the sleeves. Seams and darts in the lace bodice are "invisible," or hand appliquéd.

All the tiers of organza have hand-rolled hems, and they are attached to the satin skirt by hand. There is hand overcasting inside the dress to finish some raw edges.

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Cincinnati, OH USA 2000 Proceedings

Aubergine

Renée Weiss Chase Drexel University, Philadelphia, PA 19104

Inspiration for this evening dress originated from the works of Vionnet and Halston. The goal was to create a fluid, sensual, body conscious gown that addressed figure problems by disguising or softening them. Draping techniques were used to define the shape and lines along the center back and the side seams were eased to flatter the body. Experimentation with the use of powernet as a lining proved that the internal structure of the dress, albeit soft and drapey like the outer shell, could control the figure underneath in a very comfortable way. The draped sash, added as a separate piece, completely masks the curve of the belly, and the eye is drawn away and down from the body with the long extensions of the draped sash fabric. The focal point of the piece is a reproduction of an antique brooch which sits at the hipline. The dress fabric is rayon matte jersey in a deep shade of aubergine. The work was completed in May 2000.

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Cincinnati, OH USA 2000 Proceedings

FRESH AIR FROM THE EAST

Kyoung-Hee Cho Mokpo National University, South Korea Pattern Works International Award: Faculty

Concept and Purpose

The purpose of this project is to create a dress that includes the oriental feeling and motif but is still westernized and modernized. The overall design concept of the dress is intended to be happy, fun, sexy, elegant, and splendid. The fan structure with the asymmetrical pleats was explored to create a wearable garment. This dress is practical for special occasions like a wedding ceremony or The Academy Awards, where the unusual is desired.

Inspiration

The inspiration for this dress came from an oriental fan. The half-circle shape and the radiated ribs of a fan influenced the silhouette and construction of the dress. Especially, the embroidered floral and cloud motifs were inspired by Korean traditional art.

Description (Research Process)

The dress has a fan shape but still has a western silhouette (ubiquitously short, asymmetrical outline, exposed shoulder) with embroidered design motifs. This design is easily recognized by Korean people as a Korean traditional motif. The doubled fan-shaped pieces of the front and back emphasize the floral motif. The color red was chosen for matching the design concept, which symbolizes the happiness and opulence of eastern culture and the sexy and passion in western culture.

Techniques and Media Employed

The dress was made of embroidered shantung silk with white silk threads. The embroidered pattern motif was created by computer graphic design. The embroidery fabric surface was accomplished by the computerized mechanical embroidery technique, a total of 14 yards length and one half yards width of front and back. The placement of stitches for the radiated ribs of a fan-shape had to be done in conjunction with the knife pleats of fabric folded to the right side, which would be attached along the side of the short one-piece dress inside. The left side of the dress was not attached to the one-piece dress inside. The hemline (outline) was trimmed by the interlocking technique, keeping the scalloped edge.

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Cincinnati, OH USA 2000 Proceedings

A VARIETY OF LINES IN ONE DRESS

Mee-Sung Choi Dongshin University, Naju, Chonnam, 520-714, Korea

The intent of this design to create the aesthetic qualities of loess dying and to make harmony with different colors, including orange and black. Yellow ochre and black harmonizes with nature and also provides "attractive" natural color.

This dress was designed by applying a variety of lines using design elements incorporating fantasy colors and curvilinear shapes on the dress. The unique texture and materials come from loess dying and the use of natural dyes. The color on the silk with loess dying is smooth yellow ochre; the color of the hemp treated with loess dying has a strong and rough surface.

This outfit consists of two pieces, a loose, long one-piece dress with a straight silhouette and a hip-length vest. The rippled collar of the one-piece dress was connected with the front of the dress. Instead of a seam in the neckline, the shape of the collar was created using tucked shirring, which was implemented by stretching between the torso and the collar tucks.

The shape of the sleeves is then transformed into the Korean traditional dress, "Dang-Eui."

The thick-dyed hemp was used in the linear shape of the vest. The straight silhouette of the vest was intended to stand out among the long and short curve embroidery. The curve detail was made with long bias grain silk with a variety of widths. After stitches are used to center the bias grain, they are burned around the edges. The comparison between the short line and the long curve of detail present a profound impression. The yellow and dark color was created a dramatic harmony.

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Cincinnati, OH USA 2000 Proceedings

KOREAN GIWAJIP

Hou-Sun Choi and Mee-Sung Choi Dongshin University, Naju, Chonnam, 520-714, Korea

This design was inspired by the traditional Korean house (Giwajip). Among them, Giwajip is the representative, the reason. I selected Giwajip as my motivation because it is overcome with Korean emotions.

This design consists of a one-piece dress and a vest. The thick blue vest is the applied form of Giwajip. The hem of the vest indicates the sharp curve of the eaves. To make such a frame, wires are inserted in side seams.

The color of the vest is navy blue. This is dyed cotton cloth. It is for making the color of Giwa. This vest has two layers. The collar is rounded and the line throughout the front hem expresses the Korean Giwajip. The silhouette of an one-piece dress is made to be simple for the purpose of stressing the style of a vest. As for color, I did my best to survive Korean common feelings. This feeling would correspond to the natural emotion of Korean paper, which is pasted on a sliding door. "Dol-lim," one of the Korean traditional styles, is used in the one-piece dress. Cotton cloth is dyed with brown and reddish purple and then is applied to 1 cm code.

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Cincinnati, OH USA 2000 Proceedings

Fractal Iteration

Marla Day Kansas State University, Manhattan, KS 66505

Inspired by the complex and bizarrely beautiful images known as fractals, the concept for "Fractal Iteration" was born. Discovered by Mendelbrot, fractal geometry mixes art with mathematics. Fractals visually model the detail of objects as seen in nature, with patterns that reveal greater complexity as they are enlarged. As images are enlarged the details within the shape reveal smaller and smaller segments, always resembling the original image. Computers are used to model these detailed lines or points which can be infinitely broken down. Iterations occur as each segment is broken down. "Fractal Iteration" interprets these images along the bands of the garments with patterned motifs and dimensional embellishments.

"Fractal Iteration" is made entirely of silk dupion, all dyed or painted by hand. Fiber reactive dyes were thickened for the hand-painted motifs. Designing for a youth-oriented market, "Fractal Iteration" also relies on historical inspiration. The fractal patterned motifs are similar to the motifs evident in Kashmir shawls and later interpreted into the paisley motif so common today.

The design was derived from flat pattern methods and features a banded halter top of chartreuse silk dupion trimmed with violet silk charmeuse piping. Top and pants are lined with silk habotai, hand painted using the fractal motif. The overskirt is made of silk crepe embellished with opaque white sequins and pearls and trimmed with violet silk charmeuse and beading. The patterned motifs are adorned with Austrian crystals, beads, sequins and pearls for texture and dimension. To compliment the ensemble, sandals were customized for "Fractal Iteration." The fractal motif was hand painted onto the surface and then trimmed with beads.

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Cincinnati, OH USA 2000 Proceedings

INTERCONNECTIVITY

Joann Ferguson Boles and Peggy P. Quesenberry Virginia Tech, Blacksburg, VA 24061

Problem

Interconnectivity in all its forms from blends to bridges to negotiations.

Expression of the Problem

The manikin is a blended being—the first in a series of stateswomen—her roots are African, Cherokee, and Scotch-Irish blended in an American named Virginia. The fabrics are led by African mudcloth or Bokolanfini and connected with other fabrics in bridging colors of black, cream, and barely gold. The primary structure is the circle, which encourages equality and negotiation, joining everyone in its embrace. The inspiration was a fascination with the new races of blended exotic persons, an origami demonstration for beginning students using foil to sculpture an apparel design of circles, and an obsession with the handmade fabrics of native peoples—African Bokolanfini cloth and creativity which is the connection of known parts to form a new whole.

Description

The manikin is an original porcelain sculpture by the primary designer. It is 33 inches tall and a fully articulated half scale size six. The hairdress is sculpted of circles of fabric, both soft and wired. The body garments begin with the manikin soft body of garment fabric blending the body and the garment. The fabric soft body and the porcelain half arms and legs are visually bridged with pattern tattoos from the fabric on the porcelain. A solid black middy top and full-length skirt quietly joins the figured body to the bold, featured mudcloth skirt of circles.

Techniques

Fabric strips are wired along each edge to create architectural circle forms. All other fastening systems are traditional ones. The manikin was sculpted in clay, molded from the forms, poured with porcelain, fired in a kiln several times, cleaned, and painted. The inner filling of the soft body is scoured wool, which covers a fully articulated armature that reminds one of the "popit beads" of the 50s.

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Cincinnati, OH USA 2000 Proceedings

HANGING WITH THE IMPRESSIONISTS

Sherry J. Haar Kansas State University, Manhattan, KS 66506

The purpose of the wearable art garment, Hanging with the Impressionists, was to study the impressionist style of painting and then apply the techniques through fabric and thread. Impressionism is characterized by the use of unmixed primary colors and small strokes to stimulate actual reflected light. These characteristics are evident in the garment through the use of dyed bits of fabric and thread layered to create images and light. The conference theme, Past Reflections, Future Visions is supported by using past impressionist painters as inspiration for this current designer’s vision of color, texture, and light.

Hanging with the Impressionists is a sleeveless, double-breasted, 3/4 length, lined caftan. The closure is a dyed stick that is secured with dyed elastic. The exterior fabric is 100% pima cotton and the lining fabric is 100% silk with a maze weave. Both fabrics were hand-dyed by the designer with Procion dyes in colors of cerulean blue, forest green, plum, turquoise, and black. The caftan is a backdrop for nine pieces of framed artwork created with small (1/8" - 1/4") bits of hand-dyed fabric and thread. Well-known impressionists are paid tribute in thread renditions of their paintings. Such works include Self Portrait (1889, van Gogh), Olive Orchard (1889, van Gogh), At the Theater (1879, Cassatt), and Place des Lices, Saint-Tropez (1893, Signac). The designer used these works as inspiration to create five original thread paintings.

The thread painting technique involves adhering small pieces of fabric to a fabric ground with spray mount and securing the fabric with thread. Free motion machine embroidery is used to secure the fabric by lowering the sewing machine’s feed dogs and eliminating pressure from the pressure foot. In some pieces, such as Self Portrait, only thread is used to create the image.

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Cincinnati, OH USA 2000 Proceedings

JELLYFISH DRESS Erika Hansen San Francisco State University, San Francisco, CA 94132

The purpose of this garment was to make a traditional garment out of non-traditional fabrication. Victorian bustle drapery was an inspiration and the final design is a clear plastic corset and full length Victorian style skirt to match in two colors of vinyl.

The unusual detail of the corset is that it is full of a gel and glitter so that the wearer is slightly padded and sparkly. The corset is cut in two layers with eight seams (some curved) in the bodice. It needed to have the sections sealed so the gel would not leak out between the stitching holes and at the edges or leak from one pocket to the next. Possibilities were heat sealing, seam sealer, and vinyl repair glue. After many trials of sealing each and every seam and needed hole and spooning glittered gel into the pockets, the corset-inspired bodice was finally finished.

For the skirt, a draped effect was important, which was difficult to achieve in plastic. The solution was to add grommets to the plastic, run a cord through the grommets, and gather the plastic up into interesting shapes. The final product is a bustle-like skirt with long gathered train made from two colors of clear vinyl and a gel-filled corset bodice to match.

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Cincinnati, OH USA 2000 Proceedings

AN AFTERNOON IN THE LUXEMBOURG GARDENS

Robert Hillestad University of Nebraska, Lincoln, Nebraska 68583

Statement of Purpose

This design is the first in a series of wall pieces based on sketchbook material of flower gardens compiled during various trips to France between the years 1995-1998. The conference theme "Past Reflections, Future Visions" prompted me to review that material as potential inspiration in preparation for creating work to submit for this design competition.

Inspiration

The Luxembourg Gardens in the heart of Paris served as inspiration for this piece. There, the formal flowerbeds that flank the octagonal lake were observed, studied, and sketched. Notes were made about compositional arrangements, color relationships, and textural characteristics.

Description

The design which resulted from the inspiration cited above is characterized by dynamic relationships of color and texture that were arranged in high and low relief according to asymmetrical symmetry and a circular format.

Techniques and Media

Fabric and threads predominantly of silk with lesser amounts of materials with assorted fiber content were used as media. Fabric manipulation, stitchery (both by hand and machine), and hand dyeing were used as techniques.

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Cincinnati, OH USA 2000 Proceedings

AN AFTERNOON IN ANTIBES

Robert Hillestad University of Nebraska, Lincoln, Nebraska 68583

Purpose

This design is the third in a series of wall pieces based on sketchbook material of flower gardens compiled during various trips to France between the years 1995-1998. The conference theme "Past Reflections, Future Visions" prompted me to review that material in preparation for creating work to submit for this design competition.

Inspiration

When I visited Antibes, a coastal town in southern France, on a hazy day during the summer of 1997, I was impressed with the colors of flowers and vegetation which were bathed in blue and green from both atmospheric conditions and reflections from the Mediterranean. I studied the various effects, made sketches, and took notes about colors, textures, and forms.

Description

Major characteristics of this design are spherical forms painted with dyes in variations of yellow, blue and green against areas of stitchery. Like other designs in this series, it was organized according to asymmetrical symmetry and placed within a circular format.

Techniques and Media

Fabric of linen and cotton along with threads of various fiber content were used as media. Fabric manipulation, stitchery (both by hand and machine) and hand painting were used as techniques.

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Cincinnati, OH USA 2000 Proceedings

AN AFTERNOON IN THE GARDENS OF CLAUDE MONET

Robert Hillestad University of Nebraska, Lincoln, Nebraska 68583

Purpose

This design is the second in a series of wall pieces based on sketchbook material of flower gardens compiled during various trips to France between the years 1995-1998. The conference theme "Past Reflections, Future Visions" prompted me to review that material in preparation for creating work to submit for this design competition.

Inspiration

The historic gardens adjacent to the Maison Claude Monet in Giverny served as inspiration for this piece. When I arrived there about noon one summer day in 1997, the flowers were not only at full bloom and bright intensity, but all the more brilliant because of their reflections in adjacent ponds. I studied the various effects, made sketches, and took notes about colors, textures, and forms.

Description

Major characteristics of this design are clusters of manipulated fabric in high relief against areas of lesser relief in stitchery. Like other designs in this series, it was organized according to asymmetrical symmetry and placed within a circular format.

Techniques and Media

Rayon velvet and threads of various fiber content were used as media. Fabric manipulation, stitchery (both by hand and machine), hand painting, and color discharge were used as techniques.

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Cincinnati, OH USA 2000 Proceedings

ETERNITY

Eun Hwang Drexel University, Philadelphia, PA 19104

Research into the segment of the fashion marketplace that involves wedding dresses was the inspiration for the development of an ensemble that goes beyond traditional expectations. My bride is adventuresome, bold and high spirited, but with an interest in beautiful fabrics and couture construction. The three-piece outfit, with references to the Hispanic culture, is made of silk organza, re-embroidered lace, and spandex. The coat is double-layered organza in ivory with multiple rows of ruffle detail at the neckline and the cuffs. The construction of the coat uses French seaming for a fluid couture look. The cutaway hemline becomes a train in the back and the fabric floats in the air as the wearer moves. The pants are shiny, stretch spandex, cut to a toreador length and appliqued with beaded lace on both outseams. The corselet, made of re- embroidered lace, is boned and beaded. This ensemble was completed in Spring 2000.

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Cincinnati, OH USA 2000 Proceedings

CELTIC SUNSET Lise Jackura University of California Davis, Davis, CA 95616

The wool fabric creating "Celtic Sunset," is a unique hand-made product using a felting technique inspired by Annie Farley, a MFA student doing research on felting processes. Since this technique was the major influence for the garment's design, the following describes the basic elements of my felting process.

Felt fabric is produced by layering raw wool bat and wool roving. Bat is a large piece of multi- layered wool with all the fibers combed in one direction. It is not completely refined and contains tiny pieces of stubble. Roving is a wool product which has been dyed into many beautiful colors. It is completely free of foreign particles and is loosely formed into long rope- like strands. Roving is the final state of the wool before it is spun into yarn.

The process is started by taking the bat apart in fine layers. The first layer is laid out in the desired size and each subsequent layer is overlaid at a 90-degree angle, using a total of three layers. Next a layer of roving, finely combed, is spread in colored waves across the bat creating depth and texture with its rich colors. The swirling Celtic design was created with strands of roving placed carefully on top after determining the future placement of the jacket pattern pieces.

Finally, the layered wool is placed onto industrial bubble wrap, covered with thin polyester fabric to keep it in place, and saturated with a soapy solution. It is then rolled up and "pressure rolled" hundreds of times to agitate the fibers. It is occasionally unrolled and checked for fiber adhesion. Approximately an hour after the rolling process, the fibers bond and intermingle and the piece is then ready for "throwing," which finalizes the shrinking and bonding. The wool is carefully folded, rinsed and physically thrown onto the floor! This stresses and shrinks the wool fibers so they are completely reformed into a solid piece of cloth. It is then dried, pressed and ready for cutting.

I felted three pieces about 40" square to produce enough fabric for this jacket. The jacket's design is square and boxy to accommodate the thick felt. The frogs and edging on the collar are hand spun from the roving I used above.

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Cincinnati, OH USA 2000 Proceedings

GRACE

Hayley Kelly Oregon State University, Corvallis OR 97331

Grace was inspired by mixing contemporary wedding dress ideas with the bustles and S shaped silhouettes of the late 1890's to the early 20th century. The greatest challenge of constructing Grace was working with the 30 yards of tulle that make up the underskirt of the dress. The floor length gown has an under skirt (of white tulle), an over bodice and over skirt made from a blue/purple Santina. The bodice is strapless and form fitting with princess seams. A decorative piece of white Casa covers the bust to repeat the white that is seen in the underskirt. The over skirt of the dress is attached to the bodice and makes a large cowl drape over the front waist and hip area. The over skirt is shorter in the front and is brought up to the back waist and is open to reveal the tulle’s back fullness. Covered buttons with loops and beads embellish the dress.

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Cincinnati, OH USA 2000 Proceedings

JULIET’S DREAM

Meghan Kennish Oregon State University, Corvallis, OR 97331

This dress was created by draping the design on a mannequin. The purpose was to incorporate advanced draping techniques.

I was inspired by the costume of a TV version of the classic Victorian novel Pride and Prejudice. This dress reflects some of the innocence of that time period. I loved the effect of the empire waistline and the mostly white fabrics that I saw. Also, the sleeve silhouette and colors used are reminiscent of the Renaissance.

The white under dress of this design has an empire waistline. The bodice of the dress is gathered all the way around, and in the back there is a triangle opening that is held together by a single button closure system. It has some flare in the front and is more extensive in the back. There is a hook-and-eye closure system at the back of the skirt. The overskirt begins at center front but is angled outward to allow the underskirt to show. There are two pleats at the front of the overskirt and six in the back. The overskirt creates a long train at the back of the dress. The sleeves are attached to straps of lace at the bodice. The sleeves are sectioned into three spaces that drape away from the arm.

The under dress is made of a 50% rayon/ 50% polyester wrinkle crepe. The overskirt and sleeves are made of 100% polyester chiffon. The bodice of the under dress has a snug underbodice to control the shirring and elastic at the top of the bust for fit. There is also elastic at each of the white dividing sections on the sleeves. The hem of the under dress is done with a blind hemstitch, and the hem of the overskirt is double turned and topstitched. The overskirt is sewn together with French seams. The sleeves are set-in to the lace at the armhole.

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Cincinnati, OH USA 2000 Proceedings

BLUE BAYOU Susan K. Kessler-Simpson University of Nebraska Lincoln, Lincoln, NE 68583

Techniques Used: Flat pattern, direct dye application, resist paste, and tee dye.

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Cincinnati, OH USA 2000 Proceedings

ETHOS

Jackie Kim Drexel University, Philadelphia, PA 19104

This two-piece evening dress was done as part of a couture evening wear course. The inspiration was based on Thai culture, but the goal was to create a completely modern, young result. Requirements for the problem stated that the color selection had to be in a range from pale pink to red and I chose fuchsia blended with a gold multi-colored striped fabric in raw silk dupionni. The construction of the corset began with a definition of the way that I wanted to control the bustline. I chose to lift the bust and boned the bodice to provide support even though the cups were left soft. A small section of the cup was filled with the striped fabric of the skirt to integrate the two parts. The hemline of the bodice was hand beaded in a fringe to accentuate the colors of the stripe. The skirt is a complicated arrangement of drawstring cords that give definition to the skirt and are adjustable by the wearer. The drawstrings are arranged to create a bubble shape in the skirt and to establish an interesting pattern of stripes. This project was completed in Winter 2000.

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SCENT FROM THE PAST MILLENNIUM

In-Suk Kim Sungshin Women’s University, Seoul 136-742, Korea

Problem Statement/Research Process/Inspiration

This new design employed an ancient Korean costume for the purpose of representing post- modernism in fashion. In a new millennium, looking back at the previous millennium, one can see that Korea underwent rapid changes of society and culture. Likewise, a unique phenomenon appeared and came into fashion in the Korean women’s putting on clothes, such as putting the bottom of the jacket inside the skirt unlike the traditional Korean jacket’s covering the upper part of skirt. Naturally, a design was made to produce the peculiar Korean jacket and striped skirt forms inspired by the traditional wearing mode. The material is knit because it is favored by people for its elasticity and comfortableness.

Fabric/Pattern/Techniques

The material is a glossy and soft rayon and silk, and knitting was done by hand using a 9G knitting machine to have a delicate texture rather than through computer programming. The jacket was woven in plain stitch and the skirt was solidly woven through changes of the stitch’s position as in the rib stitching. The breast part (of the skirt), woven in plain stitch, has lined hems that make this part colorful as they stand or lie with the ironing. The jacket is made in a box style and waist length to be worn independently and the skirt is striped (red and green) with shoulder strings for easy movement. In general, the design makes us feel the taste of ancient Korean costume while having modern images and practical functions.

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Cincinnati, OH USA 2000 Proceedings

SPIRAL

Anthony Kim Drexel University, Philadelphia, PA 19104

Pattern Works International Award: Undergraduate This coat was created in response to a call for entries to a design competition sponsored by the Humane Society of America. The challenge was to create a coat using faux fur as a means of demonstrating that real animal skins do not have to be used in order for a coat to be elegant and warm. I selected two furs in related colors—faux fox and faux otter—and used the flat pattern method to establish the basic body shape. Then I created the spiraling lines on the body, placing them in proportional distances from each other. With the darts stitched in place, I cut the spirals apart and traced the muslin pieces for the final pattern. The otter fur was inserted into each seam like a piping as the body parts were sewn together. The finished coat ends in a small train and is fully lined in crepe- backed satin. The coat was completed in May 2000.

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Cincinnati, OH USA 2000 Proceedings

TRADITION AND MODERNITY

In-Suk Kim Sungshin Women’s University, Seoul 136-742, Korea Wild Ginger Design Excellence Award

Problem Statement/Research Process/Inspiration

This new design, as a part of post-modernism in fashion, was to express the coexistence of the past and modern modes and the meeting of the Eastern and Western cultures. The design was inspired by the Korean traditional women’s jacket forms and the strong color sense in the military uniform excavated from a grave built in the Chosun dynasty around the 17-18th century A.D. and was completed through reinterpretation of these elements in a modern way.

Fabric/Pattern/Techniques

As for the material, 100% shantung silk, with its shining, soft but partly a little bit rough texture from the irregular indistinct horizontal lines, was used to create a more natural and antique feeling than an artificial and smooth impression. The patterns were created through both flat pattern design and draping. The jacket has a collar typical of that period called the "Dang-co collar" (the cap of the collar was cut out), and the functional lined side has a color different from that of the jacket, thus making the whole jacket slender. The lower half of the sleeve also has a different color and the bottom line of the sleeve is straight. The breast-tie is rather short to be functional and cute. The skirt is striped in three colors, brown, orange and red, and there are another two stripes at the bottom to avoid dullness from the vertical lines. This design, in general, makes us feel the taste of Korean females while satisfying our modern sensitivity and aesthetic and functional demands.

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Cincinnati, OH USA 2000 Proceedings

Cats are a puzzle

Janice V. Kimmons Montevallo University, Montevallo, AL 35115

Cats are a puzzle. Anyone who shares life with a cat knows that. While sometimes cat behavior is predictable – that they can sleep anywhere in the most impossible positions and always get on top of the newspaper while you are reading it – most often one is continually trying to determine either what the cat is doing or where it is! My task in this design was twofold: to find a way to express this "puzzle of cat" and to memorialize one particularly beloved cat, whose family name (as in T.S. Eliot's "Old Possum's Book of Practical Cats") was Ciel.

Since the problem had a puzzle at the core, it seemed only appropriate to use a technique that would at once hide and reveal – with proper vigilance on the part of the viewer – the solution. The final design is made from triangles of many colors, grouped into basic families of blue, green, yellow, and red, with the primary pattern motif being leaves, representing the outdoors. True to the puzzle theme, there are several "surprise" patterns. The colors in the quilt progress according to hue, value, and intensity, forming the surrounding puzzle for the central figure of the cat, interpreted in gray-blue tones, representing the "blue point" coloration of the actual cat. Since the triangles are all the same size, and placed carefully according to color values, the cat does not pop out conspicuously but seems instead to lurk within its surroundings, surreptitiously gazing at the viewer through large, sapphire-colored eyes. The blue at the bottom of the design represents the boundary of the Heavyside Layer which separates Ciel from his earthly home. The green is the grassy outdoors he loved so much; the yellow is the sun he basked in at every opportunity; and the red those mysterious – and possibly dangerous – places he insisted on exploring. It's the perfect place for Ciel to raptly contemplate "…His ineffable effable/ Effanineffable/Deep and inscrutable singular name."

The quilt is machine pieced and quilted. There is a small amount of appliqué to embellish the cat figure. The quilt was completed in May, 2000.

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Design Process: Sports Bra Prototype

Grace Krenzer and Cathy Starr Oklahoma State University, Stillwater, OK 74078 Pattern Works International Award: Best Solution to a Pattern Making Problem

Despite today's technological advances, many physically active women are still unable to acquire comfortable, supportive sports bras. Ramifications from the inability to locate a good supportive bra can manifest itself in the refusal to exercise, discomfort during exercise, and the irreversible breakdown of breast tissue. The problems are exacerbated for larger breasted women. A systematic design process that incorporated several research techniques provided input for the development of a prototype.

Previous research indicated that a good sports bra should provide good upward support, limit motion of the breasts, and be constructed from primarily non-elastic materials that are absorptive, non-allergenic, and non-abrasive. Survey responses obtained attitudinal data characteristics that influence physically active women's satisfaction with currently available sports bras, specifically, fit and support problems. Tests for abrasion resistance, dimensional stability, pilling resistance, elongation and recovery, and moisture transfer were conducted on potential fabrics considered suitable for this end use. A ranking of design and materials specifications was established to develop a sports bra prototype for full-busted women.

A combination of flat pattern and draping techniques was used to develop the resulting prototype sports bra, which was designed to resolve specific comfort, support, and aesthetic issues reported by full-busted women. This was accomplished through fabric choices, design modifications, and fabric layering. A non-stretch, encapsulation inner bra, constructed of soft, non-abrasive polyester/hydrofil nylon was designed to provide support, limit breast motion, and facilitate wicking. A cropped tank top, of high modulus stretch fabric, formed an outer layer to meet the aesthetic concerns and also to compress breast tissue for additional support. Higher neckline and wider side band were incorporated for greater coverage and support. Adjustable back closure and wider underbust band created ease for donning and doffing while providing greater support, comfort, and fit. Wider, non-stretch, adjustable straps placed off shoulder pressure points provided a feature that would reduce breast motion and increase comfort. Stretch mesh knit, in strategic locations, facilitated evaporation of moisture and aesthetic qualities of the sports bra.

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Cincinnati, OH USA 2000 Proceedings

FUZZY WUZZY WAS A BEAR

Sheila L. Large Ball State University, Muncie, IN 47306

A little girl has been wearing her brother's old hand-me-down coats. What she needs is a new winter coat that is for her and not her brother. So it was decided to make her a coat to fulfill a course requirement. The requirement was to do a creative project using recycled materials.

After some thought, closets got cleaned out, producing a supply of old blue jeans to make the coat. Upon study of the patterns available, a Vogue 9912 pattern size 4T was purchased. It was then decided that the coat needed a fur lining. To keep with the recycled theme stuffed animals came to mind because of all the different colors and types of fur they are made from. About a dozen different bears, rabbits and other animals were acquired for the project.

After taking all the stuffed animals apart, they were pieced together on a purchased heavyweight flannel, which had already been cut out of the pattern to give the added warmth and a stabilizer for behind the fur. After piecing the fur onto the flannel, it could then be sewn together as usual. It was during this step that it was decided to make the coat reversible.

For the denim side of the coat the pieces were cut so that the original flat-felled seams of the jeans would be centered down the middle of each piece of the coat. To continue with the same look, fake flat-felled seams with top stitching in different colors of thread were used to match the fur pieces used.

To give the coat a finished look a reversible zipper was purchased for the front closure and a braided cording purchased for the draw strings. The bear's ears and rabbit's tails were used to make pompoms for the tie ends and zipper pull to give the coat a completed look.

Instead of putting pockets in the coat a matching fur muff was constructed out of the leftover scrapes of fur. This project was completed February 2000.

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PRINCESS OF YOUR HEART

Sheila L. Large Ball State University, Muncie, IN 47306

A new party dress was needed for a little girl to wear on special occasions. It had to be something that looked nice on a little girl and still be fancy, but it could not be frilly with lots of ruffles.

As the fabrics were examined, a nice sheer fabric with pink flocked on it was purchased. Then the perfect color of fabric was chosen to go under it, which turned out to be a white satin. To give the dress more color a matching pink satin fabric was purchased to trim the dress.

The dress was designed with a flared four-gore skirt that is longer in the back than the front. The skirt was made out of the white satin. The sheer fabric was then used as an overskirt which is fuller and shorter than the white satin skirt. The top of the dress has a basic bodice out of the white satin with baby doll sleeves out of white satin and an overlay of sheer fabric that is slightly longer to give it added puff. The collar is a simple round collar out of the sheer fabric.

To construct the dress French seams were used on the skirt, self-bound seams in the sleeves and the bodice was fully lined in white lining fabric. The armhole was finished by using bias lining fabric to bind the seam.

To give the dress a pulled-together look the pink satin fabric was used to make the sleeve bands. Then the rest of the pink satin was cut into bias strips, which were used to bind the hems of the skirt layers and the edge of the collar. The bias strips were also used to make piping for the waistline and neckline. For the closure an invisible zipper was installed in the back of the dress.

To create the pattern a size 3T sloper was used. The pattern was then created by hand flat-pattern method. The dress was completed in April 2000.

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Cincinnati, OH USA 2000 Proceedings

COUTURE

Ou Lin Drexel University, Philadelphia, PA 19104

With pink as a color restriction, this dress was designed as part of a couture evening wear class. I chose to add garden flowers as a means of inspiring my work and selected a floral silk print and coordinated it with a Sciapparelli pink silk charmeuse. The sensuous fuschia skirt is closed with loop and covered buttons across the left hip. A hand-made silk flower is added at the thick halter neckline band for a flirtatious effect. The highly structured bodice is boned and corseted, the self-fabric cut in a series of wedge shapes which cut the floral print into interesting, unmatched segments. Narrow piping is placed in each seam to add definition and a linear element. This dress was designed for the designer market and was completed in Winter 2000.

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Cincinnati, OH USA 2000 Proceedings

ODE TO COURREGES

Ou Lin Drexel University, Philadelphia, PA 19104

Research into the work of futurist designer Andre Courreges formed the inspiration for this outfit. As a designer in the 1960’s, Courreges used the color white for many of his pieces. He was interested in sculptural form on the body which ultimately directed me towards designing a three-dimensional ensemble using space-age materials. The short pants, made of organza, are hand painted in thin, acrylic lines in a concentric pattern delineating the geometry in Courreges’ work. The mid-section was draped on the body in buckram, a medium usually used in hat- making. It was chosen for its ability to support the accordion-like pleating throughout the center of the piece. The pleating was arranged in proportion to the body underneath. The final component, the yoke, is made of a frosted plastic material that was also strategically hand- painted to reflect the pants and to emphasize the upper body. This project was completed in Fall 1999.

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Cincinnati, OH USA 2000 Proceedings

PLUMAGE

Lan Liu Drexel University, Philadelphia, PA 19104

Pattern Works International Award: Undergraduate This evening dress was inspired by Gothic mysteries and legends of Vampires. It is made of beaded nylon stretch lace and individually hand sewn iridescent feathers. It is entirely draped to compensate for the varying degrees of stretch between the outer lace fabric and the woven lining underneath. The lace skirt ends in a slight train in center back. Emerald green was selected as the color for the lining to pick up on the green overtones of the feathers. The bodice understructure is also of stretch Lycra, which was left on the dress form as each feather was hand attached. The feathers along the neckline hug the body for a bird-like finish. This dress was completed in Spring 2000.

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Cincinnati, OH USA 2000 Proceedings

VALERIE

Diane Mitura Drexel University, Philadelphia, PA 19104 Pattern Works International Award: Graduate

This dress and jacket was designed as part of a collection of machine-knitted pieces inspired by the work of Paul Klee. His lifelong interest in ethnicity provided the resource for the range of earthtones used in the yarns. The pattern for the knitting evolved on the machine itself after multiple stitch test swatches were created in the yarns. The yarns, in acrylic, wool, and linen with Lycra added in specific sections range in color from pink and gold to maroon and black with red overtones throughout. The segments were knitted using a full-fashioned approach and a crochet machine along with hand crocheting was used to assemble the parts. This project was completed in Spring 2000.

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Cincinnati, OH USA 2000 Proceedings

Millennium Christening Heirloom

Ivonne Pasarell University of Puerto Rico, San Juan, P.R. 00931

Inspiration

The inspiration for this christening gown and receiving blanket comes from the beautiful handwork and delicate craftsmanship of Puerto Rican traditional baby clothes: a Spanish heritage of handmade bobbin lace, drawn thread work, hand embroidery, and Turkish stitches.

Problem Statement

Can traditional Puerto Rican heirloom sewing be produced using new techniques and technology? The young Puerto Rican generation is not skilled in needlework art, particularly Spanish style, but are adopters of new technologies. New approaches should be considered to make these baby clothes available for future generations. Given the advances in sewing machine technology, if Puerto Rican heirloom sewing techniques could be reproduced by machine, more young people could be interested in learning and preserving our traditions. Four common components of traditional baby wardrobes were identified: handkerchief linen fabric, bobbin lace, hand embroidery, and drawn thread work. PFAFF computerized machine embroidery and decorative stitches were tested to try to achieve a handmade look. The designer found that handmade drawn thread work could not be duplicated by domestic sewing machines; therefore these techniques should be taught to new generations if the tradition is to be kept alive.

Description

This traditional ensemble is made of two pieces: an A- cut newborn size christening gown, with round neckline and gathered sleeves, and a 38" x 38" receiving blanket. Both are made of white handkerchief linen and decorated with handmade drawn thread work, done by a local needle- crafter, with the Spanish phrase "Dios me bendiga," which means "God bless me." The drawn thread work done in the blanket has, at both ends, a stork. Both pieces are embellished with built- in machine embroidery stitches and machine-made bobbin lace finishing all edges.

Techniques

Machine Turkish hemstitches were used to finish the gown’s back closure and blanket hem, to apply the lace edging to the gown hem and neck, and to attach the lace insertion to the sleeves. A special machine foot was used to apply the lace edging to the blanket and sleeve hem, achieving a handmade look. French seams were used to assemble the garment.

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Cincinnati, OH USA 2000 Proceedings

HARDENED SOLES

Erica Platt Montana State University, Bozeman, MT 59717

The collection, Hardened Soles, was created for an independent study course in sculpture. The purpose was to further explore an interest and to develop these ideas into a cohesive body of work.

The inspiration for the designs came from previously experimenting with metal clothing. Shoes were chosen for their small size, which allowed for the creation of several, each in a totally different style. Copper was selected for its malleability and its ability to take on a wide array of patinas.

A lace-up boot, a cowboy boot and a clog were created, each through an entirely different process. The pattern for the lace-up boot was made through the draping method. From this pattern, the copper was cut, formed, and soldered. The large sole of the shoe is hollow and was riveted to the rest of the shoe.

Disassembling a leather cowboy boot and using the resulting pieces as a template offered a ready-made pattern for the copper cowboy boot. The matching leather boot (still intact) was filled with cement and used as a molding block to form the copper over. The main body of the boot was riveted together and stitching lines were chemically etched into the copper. To create the sole of the boot a wooden armature was first created. From this, a pattern was drafted. The copper was cut according to this pattern and tacked to the wood using copper nails. The rest of the boot was soldered to the sole.

Combining techniques learned through the creation of the boots, the final piece, a clog, was created. After finding success with the sole of the cowboy boot, the clog’s sole was therefore fabricated in the same manner. The upper shape of the clog was patterned after an existing shoe. The copper was forged over forming stakes to emulate the exact contours of the existing clog. Holes were drilled in the upper section of the shoe and decorated with hand made rivets of copper, aluminum, and brass, all in various sizes. The nails used to attach the upper and lower portions of the clog were of the same three metals as used for the rivets.

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RIVER GUIDE

Erica Platt Montana State University, Bozeman, MT 59717

River Guide was generated in a product development class in which the assignment was to create a bag for a real estate agent who sells fly-fishing land. The only stipulation was that the bag must hold a laptop and fly-fishing gear.

Inspired by traditional over the shoulder fly-fishing bags, River Guide combines function with professional appearance. In order to achieve this, personal interviews were conducted with fishermen and real estate agents, and many of the design decisions were based on information gathered in these interviews.

River Guide is a dual bag system, which grants the wearer versatility. The removable "dry bag," made of Ultrex and lined with nylon, is divided in the middle to hold a laptop computer and literature. This bag is inserted in the main compartment or the front "shelf" compartment (explained later) of the fishing bag and can be removed and left in the car or at the river's edge.

The fishing bag is constructed of 1000 denier Cordura in a burnt sienna color. The main compartment can house either the laptop or a combination of other items (camera, cell phone, lunch, water bottle, etc.). This compartment has additional inside pockets made of mesh (high visibility and less weight) for such items. On the outside of the main compartment are several small pockets (one zippered) for fishing tools, as well as two tabs on which retractors could be clipped.

Directly across from the main compartment is a flip down divider to which two fly boxes could be Velcroed. (When this section is flipped up, it Velcros to the main compartment of the bag). Adjacent this divider to the opposite side is the front wall of the bag. On the outside of this are two large Velcroed pockets to store reels and other items in need of easy access. This entire front section, in addition to the divider, flips down by releasing tabs to create a "working shelf" for the fisherman.

The bag easily morphs from "business" to "pleasure." When the bag is being transformed to fishing mode, the shoulder strap length is adjusted (by Velcro) and the side flaps pull back (Velcro as well) to the back of the bag. This exposes a waist strap which clips behind the wearer's back.

The bag has two top flaps. One flap covers just the main compartment and is used while fishing (it also has a fly patch attached to the top of the flap). The other flap covers the entire top and front of the bag and can be stowed to the back of the bag when fishing (it Velcros to the flipped

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back sides). This flap has a large slip in pocket for a vest or extra clothing and one smaller zippered pocket for miscellaneous items.

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Cincinnati, OH USA 2000 Proceedings

BLACK, WHITE AND RED ALL OVER

Wilma Ridgeway Ball State University, Muncie, IN 47306

The idea of a different quilted jacket had been on my mind. When I found the red, white and black oriental print, I know that was a fabric I wanted to use. But I felt the bold print was a little strong for me. Hence the idea of using black and white prints and black fabric and connecting everything together with the oriental print.

The inspiration for this machine quilted patchwork jacket was the oriental print fabric used in the trim. The large pieces of patchwork are connected with bias tape made from the oriental print. Quilting was done, with machine, widely spaced using the shape of the patchwork piece as a guide. Each piece is quilted in a different configuration. The jacket was quilted onto a lightweight polyester fleece and lined with a smooth finish polyester for easy on and off.

The raw edges are bound with the oriental print fabric. The button is hand-made of paper and painted with a character from the oriental print.

The pattern was computer generated from flat pattern slopers using a Microdynamics pattern design program. The project was completed in April 2000.

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Cincinnati, OH USA 2000 Proceedings

PUNJABI PLUM

Paula B. Sampson Ball State University, Muncie, IN 47306

The goal of this design was to highlight the different textures (iridescent chiffon, metallic knit, and crushed velvet) of the fabrics used, their interplay with each other and the skin. There are places in the design where one sees only the sheer and skin (arms), or only the metallic knit (legs), or the sheer and metallic may be together (torso), or in combination with the velvet (neck braid). The result of each creates a different visual texture(s). The design itself was inspired by Indian dress. The lines of the garment are reminiscent of the salwaar kameez (a knee length or longer tunic and draw string pants) worn by women of India, as well as garments worn by Nehru when he was in office. The garments also have the metallic sheen found on special occasion clothing of Indian women.

The design uses three plum polyester fabrics: iridescent chiffon, a metallic knit, and crushed velvet. The first two fabrics are translucent. The design includes a jumpsuit, a duster, and a braided neck decoration. The jumpsuit (metallic knit) has halter style armholes, slight blousing, a drawstring waist, back zipper, and a standing collar. The duster (chiffon) has a jewel neckline, which matches the neckline of the jumpsuit, princess seaming, and a yoke/sleeve. It is fastened with a button loop and large decorative button at the yoke, allowing the rest of the duster front to hang open. The optional neck braid of all the three fabrics is supported by a brass armature/choker. This gives another variation to the wearer and allows appropriate cleaning for each design component.

The garments were designed by draping and flat pattern. A muslin was developed and modified after analyzing for design and fit. The duster features French or mock French seaming, narrow shirt tail hems, and chiffon interfacing on narrow facings to maintain as much sheerness as possible. The hem also contains horsehair braid to make the duster stand away from the body and create the desired A-line silhouette. The jumpsuit is lined with black nylon tricot for comfort and modesty. The jumpsuit fabric was a challenge to use because the metallic strands snag very easily. Originally the drawstring was to be made of the metallic knit, but it abraded badly and the sheer fabric had to be substituted for the drawstring. The design was completed May 1999.

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Cincinnati, OH USA 2000 Proceedings

SOUTHWEST VISIONS: POTTER’S APRON

Paula B. Sampson Ball State University, Muncie, IN 47306

The goal of this design was to create an apron that would keep the wearer clean (or cleaner) while using a potter’s wheel. The motion of the wheel causes clay and slip (clay and water mixture) to fly in all directions while the potter works. The design of traditional aprons does not protect the legs from getting soiled. This is because the skirt portion has been pulled up so the potter can get closer to the working area of the wheel located between the legs.

The apron consists of a bib, a split skirt with pockets, straps and ties. The straps cross over in the back to keep the bib flat against the chest. A gaping bib would permit clay to get to the shirt underneath. The skirt is calf length and overlaps in the center front but opens, permitting the potter to sit close to the wheel and keep the legs covered, both standing and sitting. The pockets are handy for keeping small tools close by while the potter works.

The inspiration for the design motifs and colors of the apron came from several visits to the southwest. The colors purple, orange, and turquoise are reminiscent of the colors found in nature and the native crafts of the area. The decoration on the bib reminds one of the chest coverings worn by American Indian braves, made of feather spines lashed together with colored string. The pot motifs represent both the pottery produced in the southwest, as well as the use of the apron itself.

The bib decoration is created by Seminole piecing and was appliqued onto the bib. The pot motifs were backed with interfacing and then appliqued with a satin stitch to the apron. The best satin stitch was a slightly unbalanced stitch, which pulled the top stitching thread to the back. The fabrics are all cotton or cotton/polyester blends to permit laundering, essential for a potter’s apron. Durable stitch and hem choices were selected for prolonged use of the apron.

The apron was designed by flat pattern and drafting. A prototype was developed and used, resulting in some modifications. The apron ties were shortened so they would not get into the clay on the wheel. In addition, drapery weights were added to the center corners of the skirt to help keep the apron in place over the legs while working at the potter’s wheel.

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PURPLE POISE

Jubal Douglass and Eulanda A. Sanders Colorado State University, Fort Collins, CO 80523

This eveningwear suit was designed for a woman 84 years old. Inspired by two Mr. Blackwell jumpers from the 1970s, this ensemble addresses issues associated with the aging female consumer. Silk charmeuse, along with china silk lining, was used to create an evening suit for a specified patron. Raglan sleeves allow for a greater range of motion than a set-in sleeve and are elongated to cover the arm and wrist. The high neck is gathered at center front and is secured with a snap. The blouson waist is elastic and the inner garment is longer, which allows it to be tucked into the pant. The front opening design feature helps conceal the front lap zipper opening on the front of the inner garment. The crystal rhinestones adorning the sleeves form a focal point for the garment, directing the eye to the face. The palazzo pants have an elastic waistband and side seam pockets. The jumpsuit conceals areas of the body that are changing with age, thus providing comfort and confidence for the wearer. The pattern was created using Modaris, an industry standard computer-aided pattern-making software.

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Cincinnati, OH USA 2000 Proceedings

BUG ME

Karen E. Schaeffer University of Delaware, Newark, DE 19716

The challenge was to create an aesthetically pleasing ensemble using insects as design inspiration.

Inspiration

A "Bucket-O-Bugs" purchased from a toy catalogue company led me to think creatively about incorporating insects into a design. My other inspiration was the book An Inordinate Fondness for Beetles, which included many varieties, colors, and body shapes of beetles.

Description

Hat: the hat base is buckram which has been padded and covered with 100% black polyester crepe. The spiraling buckram top-piece has also been padded and covered with crepe. A variety of black insects from "Bucket-O-Bugs" have been sewn to the spiral base. The insects appear to be moving from the hat back, around the spiral and onto the hat base front.

Dress: the empire foundation is Vogue pattern #2166. The empire bodice and beetle wing are original patterns. The dress fabric is black 100% polyester crepe; the lining fabric is 100% polyester. The bodice is permanently sewn to the torso. The shape of the beetle Xylorhiza adusta was the inspiration for the black crepe wings on the dress back and front. These wings are attached to the dress at the intersection of the bodice and empire foundation using small hooks and eyes. The dress can be worn with or without the wings.

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Cincinnati, OH USA 2000 Proceedings

BIOVISION

Lisa Seidlecki Drexel University, Philadelphia, PA 19104

Surrounded by science at home and with a strong interest in molecular biology, this piece is inspired by organisms observed under an electron microscope. I created these prints on a computer by downloading images of cellular structures from the internet and using a variety of computer-aided design programs. I re-colored them. They were then printed out using a traditional Epson printer onto silk broadcloth and powernet. I then worked with the placement of the prints into esthetically appropriate positions on the body. The silhouette was developed in response to the perceived requirements of the contemporary marketplace and accent colors were added in a color block placement to enhance the coloration of the prints. This project was completed in Spring 2000.

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Cincinnati, OH USA 2000 Proceedings

FANCIFUL FELT Julia Sharp Centenary College, Hackettstown, NJ 07840

The aim of this project was to create wearable art that reflects the past and can be worn today and into the future. Fanciful Felt was inspired by the felt-work of early nomadic tribes. Fleece, fine-woven cotton and decorative trims were used to create an avant-garde felt garment. As opposed to the early functional use of felt in the yurts of Mongolian Tribes, the boots of Russian policemen, and the felt kepeneks (cloaks) of Turkish shepherds, "Fanciful Felt" was created solely for its aesthetic appeal.

It is important for future generations that designers of today are environmentally and socially responsible. Felting by hand uses no harsh chemicals and wool is a renewable resource that is biodegradable. The only energy consumed is that of the designer. Hot water is not necessary, but does speed the process.

Fanciful Felt is a warm, soft decorative scarf 76" long and 10" wide. Woven cotton fabric, 1.5 times larger than the finished scarf was spread on a reed mat. Long staple dyed Marino fleece was thinly spread over the cotton, leaving some areas uncovered. Pieces of silk fabric, strings of gold beads, gold and black lace and gold threads were placed on the fleece and partially covered with a very thin layer of fleece. The work was covered with ninon and warm soapy water was pressed into it. The reed mat and design were wrapped around a 1" dowel and rolled vigorously for 3 minutes. The mat was unrolled and the ninon was removed. The design was wrapped around the dowel again and rolled until the wool fibers had started to felt and spread through the cotton. To force the wool fibers further into the cotton, the design was taken off the reed mat, folded, wrapped in the ninon and forcefully thrown against a flat surface several times. The fabric was refolded and thrown again. The process of folding and throwing was repeated until the wool was fully integrated into the cotton. Final shaping and shrinking was performed by keeping the design damp with hot soapy water and rolling sections of it on a washboard. Finally the piece was rinsed in cold water, squeezed in a towel and left to dry on a flat surface.

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Cincinnati, OH USA 2000 Proceedings

NEWSBOY CHIC

Julia Sharp Centenary College, Hackettstown, NJ 07840

The problem was to create an urban outfit for the new millennium, which is a reflection of an earlier time. The inspiration was the newsboys of the turn of the last century, portrayed with the optimism of the youth of the new technological age.

In 1899 poor, ragged boys wearing waist-length vests, short pants, and butcher-boy hats stood on every street corner of New York City peddling newspapers. Times were difficult and pay was low. In contrast, today's urban youth has the opportunity to earn a reasonable income. Most attend school and have jobs. In the current economic environment, they can afford clothing selected purely for its fashion and aesthetic appeal, including trendy clothes to be worn in clubs and at social gatherings. Newsboy Chic reflects upon the past and suggests that the future will be bright and fulfilling.

The outfit consists of a lined jacket and hat of red PVC and silver lame knee-length pants. The jacket is waist length. It has a convertible Mandarin collar and silver snap fasteners at the front. The tops of the sleeves are silver lame. The pants have a yoke at the back, side front pockets, and a center front fly zipper. The hat is a lined 8-section beret with visor.

The jacket and pants patterns were made by draping. The hat pattern was drafted. There are no darts in the jacket. The bodice shaping was created by manipulating the fullness into diagonal seams across the front, which appear as quilting lines. For the jacket, the PVC was cut into sections large enough to accommodate the machine quilting. For the front, the diagonal seams over the bust were marked on the PVC and used as a guide for the quilting lines. The pattern pieces were then cut out of the quilted PVC and stitched together. The silver lame sections of the sleeves were interlined with batting to provide puffiness.

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Cincinnati, OH USA 2000 Proceedings

SEED SACK DRESS Kara Spencer Iowa State University, Ames, IA 50010

The Seed Sack Dress was constructed for an experimental design class. The goal was to construct a wearable garment out of a paper product. It was inspired by the use of seed sacks for dresses in the early 1900's by farmers' wives. Then the seed sacks were actually made from fabric rather than from paper.

For the design I wanted something that was simple enough to depict the wholesomeness of the garment's origin of inspiration and difficult enough to be impressive. The garment has an empire waist with a pleated front panel. The overskirt is also pleated to mirror the effect of the bodice. The underskirt is gathered and was painted to match the colors that are on the original bag. The belt is made of bailing twine and simply tied in the back. I added gloves to give the peasant- looking dress a formal look. The gloves are constructed of the bag as well, using the flat pattern method. I used an x-acto knife to cut small diamond in the elbow region so the paper would move with the arm. I cut out the pheasants (the company's symbol) off the bag and glued them for a dramatic effect on the top of the glove.

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Cincinnati, OH USA 2000 Proceedings

FISH FLASH

Jennifer Stalhberg University of Minnesota, St. Paul, MN 55108

This ensemble was designed for a woman with a traumatic brain injury and very little dexterity on her right side. The woman participated in designing the ensemble with the designer, answering questions about her needs. A basic fit sloper was developed for the woman to provide best fit of any garments designed for her. Needs of the subject/client include garments that are easily donned and doffed using only the left hand. The inspiration came from this beautiful, vital woman who enjoys dressing fashionably without sacrificing comfort or ease of dressing. The houndstooth jacket is trimmed in black leather and constructed with a nod to Coco Chanel. Large buttons with left-over-right loops, raglan sleeves, and an extended neckline to cover scarring are special features. The elastic waist skirt was designed with a higher back and lower front to accommodate a seated position and aid dexterity.

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Cincinnati, OH USA 2000 Proceedings

"IN OUR TIME"

Nancy Stanforth Kent State University, Kent, OH 44242

Diane Morton Oklahoma State University, Stillwater OK 74078

I remember my youth and feeling that it will never come back any more – the feeling that I could last forever, outlast the sea, the earth, all men.

Joseph Conrad (1857-1924)

The impetus for this piece came from my childhood, when time seemed to stand still. My sister and I could not envision the year 2000. We frequently asked our parents if we would see the turn of the century. And now we are here in the year 2000 wondering how it could have happened so quickly.

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Cincinnati, OH USA 2000 Proceedings

PINAFORE 2000

Barbara L. Trout University of Nebraska, Lincoln, NE 68583

"Pinafore 2000" serves as a homage to the apron, a staple clothing item of the 20th century that carries both function and sociological significance. Reflecting on classic aprons of the 20th century such as the pinafore and the cobbler’s apron brought images of the past that seem to be fleeting in today’s society. These items of clothing carry a variety of messages including protection, status, femininity, and innocence. The goal of this project was to capture the essence of aprons of the past and re-invent the image for the future. The approach involved combining geometrics with a transparent material while relying on the simplicity of the integral components of the garment to provide interest. The garment was draped in muslin and translated in silk organza. Points of interest are pintucking at the yoke and a series of oversized bows to secure the back. Accents are incorporated at the shoulder with graduated hand-cut feathers projecting from the armhole edge. The pinafore is worn with a white silk strapless underdress to create a full- length cone-shaped silhouette. Rhythm and proportion are integral to the final composition of this apron for the future.

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Cincinnati, OH USA 2000 Proceedings

SUSHI

Barbara J. Weingart Syracuse University, Syracuse, NY 13244

"Sushi" is a wearable art piece inspired by the Japanese kimono and hand painted with French dyes using both gutta resist technique on the outside and salt technique on the lining. The goal of this project is to make an art-to-wear piece with a sense of humor. Japanese kimono inspired the shape of the piece, Japanese art inspired the off center proportion, and Japanese Sushi inspired the two large fish on the sleeve and body.

The research process involved looking at books on oriental art to get a feel for the proportion and balance used and studying the construction of Japanese kimono.

The kimono sleeves are exaggerated and overly long to accommodate the image of the fish on one of them. Each piece was cut and sewn together before painting. Then the images were drawn on the sewn kimono. The kimono was taken apart and suspended on a stretcher and gutta was used to define the images. Then the painting process began. After painting, the dyes were steam set and the pieces were dry cleaned and resewn together along with the lining.

The colors used were not oriental. The colors were chosen for their brightness and the enjoyment of looking at them, enhancing the playful subject matter on the kimono.

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Cincinnati, OH USA 2000 Proceedings

ICE CREAM DRESS

Sarah Wesselowski and Sherry J. Haar Kansas State University, Manhattan, KS 66502

A line of children’s apparel was developed to educate children and their care providers about different cultures and languages. The Ice Cream Dress features the Japanese culture. The lettering embroidered on the detachable cones say "ice cream" in Japanese. Batik, a traditional Japanese resist technique was used to create an ice cream cone pattern on the fabric. An educational hang tag explains how to say "ice cream," "green," and "pink" in Japanese, and shares other aspects of the Japanese culture. As a result, the Ice Cream Dress is an educational and interactive learning tool for the child and care providers.

The Japanese inspiration stems from the designer’s language minor in Japanese and an interest to explore the batik technique.

The garment consists of a floor length, elastic waist, three-layer skirt and an elasticized tube top with straps. The tube top features detachable ice cream cones so the child can select a green or a pink cone, allowing the child take part in a decision-making process which is important to a three year old.

The tube top is constructed using 100% silk fabric that was hand-dyed bubble gum pink. Elastic thread in the bobbin created the smocked effect of the top. The detachable ice cream cones in pink and green are padded and hand embroidered with the words "ice cream" in Japanese. Beads also embellish the cones. Hook and loop tape was used to secure the detachable cones.

The three-layer skirt was constructed using 100% silk fabric. The first two layers of the skirt fabric were made of hand-dyed, pink silk chiffon and the underlayer was a white silk fabric. The ice cream pattern on the skirt was first achieved by batiking each individual ice cream cone. Batik is a wax resist technique. Pink, green and brown dyes were used. Next, the cones were cut out and machine embroidered onto the skirt. The hem was roll-finished and encased in fishing line.

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Cincinnati, OH USA 2000 Proceedings

KANGAROO DRESS

Sarah Wesselowski and Sherry J. Haar

Kansas State University, Manhattan, KS 66502

A line of children’s apparel was developed to educate children and their care providers about different cultures. The Kangaroo Dress has an Australian theme for its inspiration. A hangtag provides information about Australia that would enable the parents to teach their child about this country. The parents might learn something too! The use of different textures and imagery makes learning about Australia a fun and interactive experience. The target market is children between the ages of two and five as this is a prime age for learning and curiosity.

This dress is a pull over, mid-calf length, with 3/4-length fur-trimmed sleeves, hook and loop closures at the shoulder seam, and a child's size 3. The focal point is a giant fur-trimmed pocket on the skirt with a joey or baby kangaroo poking out her head.

The joey was constructed using different types of leather that were machine embroidered to the dress. Facial details were created with buttons and hand embroidery using embroidery floss. The main dress fabric is 100% cotton twill. The tan color was achieved by dying the fabric using approximately 30 Lipton tea bags that cooked on a slow simmer. The pocket closes using hook and loop tape, which was placed underneath the paws.

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Cincinnati, OH USA 2000 Proceedings

ZEBRA DRESS

Sarah Wesselowski and Sherry J. Haar Kansas State University, Manhattan, KS 66502

A line of children’s apparel was developed to educate children and their care providers about different cultures and languages. The Zebra Dress features the Japanese culture. The lettering embroidered on the dress and headscarf says "zebra" or literally striped-horse in Japanese and the dyeing technique is a traditional Japanese shibori technique. An educational hangtag explains how to say "zebra" in Japanese and shares other aspects of the Japanese culture. As a result, the Zebra Dress is an educational and interactive learning tool for the child and her care provider.

The Japanese inspiration stems from the designer’s language minor in Japanese and an interest in learning the shibori dyeing technique.

Zebra Dress is a child size 3, A-line dress, with snap closures at the shoulder seam, length ending at mid-calf, and includes a coordinating triangular head scarf. The garment pattern was developed through the flat pattern method.

The shibori dyeing technique was used to dye the fabric. The 100% pima cotton fabric was wrapped around a tube with string and scrunched down. Black dye was then applied to the fabric whereby the wrapped string creates a resist. The process was repeated two more times, once with bleach and once again with black dye. This multiple application gave the fabric richness, depth, and a nice polished hand. The lettering on the dress was constructed using a terra colored cotton/polyester fabric that was machine embroidered vertically down the dress. The headscarf or bandana is constructed with the shibori fabric and the wording is machine embroidered using thread.

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Cincinnati, OH USA 2000 Proceedings

THE IMPERIAL JESTER

Heidi Wolf University of Minnesota, St. Paul, MN 55108

The Imperial Jester represents a character from the children’s book, The Emperor’s New Clothes. This character’s outstanding feature is a large, riotous rump! The exaggerated butt was "engineered" using foam materials and a structure to attach it to the body of the actor. The costume was designed around the prominent body feature using the forms of the traditional jester hat, shoes and bells. A purple spandex body suit covers the jester head to toe with the body of the costume made of purple and red striped upholstery fabric.

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Cincinnati, OH USA 2000 Proceedings

THE IMPERIAL TAILOR

Heidi Wolf University of Minnesota, St. Paul, MN 55108

The Imperial Tailor represents a character from the children’s book, The Emperor’s New Clothes. The form of the costume was based on the 1770’s time period. Modifications in color and fabric were made to make the costume come alive on the stage with particular appeal to children. Brightly colored striped upholstery fabric was used for the jacket. Ribbon tape measures were used as trim at the knees of the breeches to emphasize the role of the tailor. A white paper wig in period style was designed and constructed to complete the costume.

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Cincinnati, OH USA 2000 Proceedings

HOLE-IN-ONE

Georgette Yakman and Sherry Schofield-Tomschin Virginia Polytechnic Institute and State University, Blacksburg, VA 24061

Hole-In-One was inspired by my son who, last year, as a toddler, played golf for six hours a day for six months. His golf infatuation influenced my design spirit. I thought it would be great to incorporate a component of miniature golf into a garment. When an assignment to create a garment from hardware materials was presented, it seemed like the perfect venue for this concept. The resultant Astroturf bodysuit is a form-fitted, Lycra-lined suit with lacing up the exterior side seams and along the inner arm seams. The jersey crotch gusset allows for movement. The sleeves are cut back from the shoulders to the biceps and attached only at the cap of the shoulders. The edges are finished by handstitching a 1" wide, double-fold bias tape down the sides of the suit and along the arm seams. Grommets inserted every 2" allow for the lacing. The neck, wrists, and armscyes are finished with a 1/2" double-fold bias tape.

An eighteen-hole miniature golf course is created on the surface with various hardware and craft items. The "holes" are constructed of Velcro circles and the tees are 1 1/4" squares of plastic baseboard, wired down at the corners. The edges of the holes are defined with brick colored 1/8" satin ribbon. The following is a listing of the obstacles in the holes; #1—foam and craft board windmill, #2—Styrofoam tunnel under a satin flower bed, #3—air filter river with a canoe, paddle and fish buttons, #4—four drawer pulls painted like mushrooms, #5—wooden toy train on velvet ribbon tracks, #6—ramp with toy pole over an air filter fishing pond, #7—red wire tunnel, #8—clear soft plastic tubing loop, #9—wooden toy airplane in a air filter and craft fur sky setting, #10—foam cemetery, #11—angled arrow, #12—air filter ponds with silver fish buttons, #13—painted Styrofoam snow hills with runner sleds, #14—various sized and colored hand buttons, #15— silver studded, red and yellow painted snake, #16—painted Styrofoam and cotton volcanoes, #17—sandpaper traps, and #18—path of rhinestone "light" buttons. This garment would be the talk of any costume ball or would travel well to promote miniature golf courses.

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Cincinnati, OH USA 2000 Proceedings

ZIPPERS COUTURE

Georgette Yakman and Joann Boles Virginia Polytechnic Institute and State University, Blacksburg, VA 24061

This dress was created to fulfill a draping assignment to create a garment using at most one seam. An exception to this heuristic was that any closure treatment could be used to replace a seam. Instead of replacing seams on an original garment with zippers, I decided to take the project in the direction of the exception and replace the fabric on the garment with zippers. Multi-colored zippers were pinned on a half scale mannequin, resulting in the choice of black zippers with silver teeth to create a pin-stripe effect on the full-scale final garment. Unruly zipper ends that would not stay in place led to leaving end pieces unstitched. Along the neckline they could hang in various lengths to create a dramatic effect. This thought also led to creating a long graded circular train.

The entire dress was created from a 100-meter strip of black jacket weight zipper with aluminum teeth. A zipper running from front to back over each shoulder holds up this form-fitting dress. The dress is fitted to the model by butting zippers together at the chest and hips and overlapping them at the waist. The working closure is hook and loop tape in the side seam. There are two added zippers over the hip area; one put in over each front pelvic bone. The front, top, and bottom zipper ends are cut at angles, each draping longer as they radiate out from the center front, creating two half circles. The back top has four long zippers that can be wrapped around the arms and/or head for dramatic effect or left to cascade out beyond the rest of the train. The bottom of the dress continues the same radiating circle started in the front, creating a circular train in 12 pieces.

The WEARER—an innovator or a zipper aficionado. The EVENT—the Beaux Art Ball at your favorite museum.

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Cincinnati, OH USA 2000 Proceedings

SOUNDS FROM UNDER THE SEA

Ki-Won Yang and Mee-Sung Choi Dongshin University, Naju, Chonnam, 520-714, Korea

The objective of this draped dress is to create the aesthetic movement of a water-plant and to emphasis the personality of feminized women. The resource and materials under the sea is important to environmental issues.

This dress is inspired by the beauty of the sea-wood (water-plant). The details on the dress come from sea-wood.

This outfit consists of a long dress and hat. The silhouette of the dress is straight to emphasize the human body.

Two fabrics were joined on the outside and cut naturally like sea-wood. The edge was burned to create different colors, including olive green and black. The details were attached to expression that the sea wood emerged from the sea.

The long dress was constructed from ramie fabric, dyed a natural color. Also the cloche hat with wide brim was made of the same fabric to express elegant and sophisticated women.

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