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. Page 1 of 1 © 2000, International Textile and Apparel Association, Inc. ALL RIGHTS RESERVED ITAA Proceedings, #57 – www.itaaonline.org 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. Page 1 of 1 © 2000, International Textile and Apparel Association, Inc. ALL RIGHTS RESERVED ITAA Proceedings, #57 – www.itaaonline.org 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 Page 1 of 1 © 2000, International Textile and Apparel Association, Inc. ALL RIGHTS RESERVED ITAA Proceedings, #57 – www.itaaonline.org 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. Page 1 of 1 © 2000, International Textile and Apparel Association, Inc. ALL RIGHTS RESERVED ITAA Proceedings, #57 – www.itaaonline.org 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. Page 1 of 1 © 2000, International Textile and Apparel Association, Inc. ALL RIGHTS RESERVED ITAA Proceedings, #57 – www.itaaonline.org 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%. Page 1 of 1 © 2000, International Textile and Apparel Association, Inc. ALL RIGHTS RESERVED ITAA Proceedings, #57 – www.itaaonline.org 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. Page 1 of 1 © 2000, International Textile and Apparel Association, Inc. ALL RIGHTS RESERVED ITAA Proceedings, #57 – www.itaaonline.org 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.