CLIP CETL: enhancing practice Contents 1 FASHION Resurface, reshape, and restructure Manipulation 2 Enriching, embellishing, and adorning INTRODUCTORY STUDIES Adding 3 Bedecked, bedazzled, and bejeweled Beading 4 Displacing, extracting, and distressing Subtracting 5 Constructing creating, and joining Forming FASHION DESIGN TECHNOLOGY Foreword Glossary About this CD Cover

1 2 3 4 5 Resurface, Enriching, Bedecked, Displacing, Constructing reshape, and embellishing, and bedazzled, and extracting, and creating, and restructure adorning bejeweled distressing joining

Manipulation Adding Beading Subtracting Forming

Gathering Appliqué Tambour Perforating Machine shirring and Couching: beading Cutwork made lace puckering ribbons, cords, Hand Découpé Weaving/ Pleating braids, objects beading Interlacing and tucking Reverse Stitching French applique Piecing and Smocking beading patching Bonding, Drawn thread trapping, Beaded Needle layering and fringes Pulled work punching slashing Beaded Knotting cord Beaded Tassel

Index a b c d e f g h i j k l m n o p q r s t u v w x y z Contents Resurface, reshape, and restructure Manipulation 1 Resurface, reshape, and Fabric manipulation can be considered as including any technique that restructure reshapes the surface of the fabric. These processes change both the look Manipulation and the feel of the material. They embrace the folding techniques of Introduction pleating, smocking and tucking, the crushing techniques of gathering, shirring and puckering and the raised relief of quilting. These techniques can either be used in isolation or combined to reconstruct or to reshape a 2 surface. Most of the techniques have considerable historical information Enriching, available for research both in written form and in examples in collections. embellishing, and adorning Manipulation changes the way that light falls on to the surface of the Adding fabric and is effective on shiny materials like satin while equally effective on velvet creating rich sumptuous folds. Illusions of movement can be created with rippled surfaces. Ideas for manipulated fabrics can be 3 explored through paper folding. By working freely with a variety of weights Bedecked, bedazzled, of paper and with a mixture of cut and torn edges exciting effects can be and bejeweled explored that give ideas for translation into . Beading Fabrics will react differently when subjected to these techniques depending on their weight, texture and structure and a range of materials should be investigated, such as satin, shot taffeta, velvet, loosely woven 4 Displacing, and transparent fabrics. Try contrasting the effect of crisp fabrics that extracting, and retain their folds well with soft chiffon that forms gentler folds. Fabrics can distressing be worked on before being manipulated with ribbons, nets, or lace, or Subtracting think of painting or printing onto the fabric either before or after manipulation. 5 Within the broader field of textiles fabric finishes are employed to create Constructing effects similar to traditional methods of fabric manipulation. It is important creating, to gain a knowledge of these techniques as some can be combined with and joining embroidery, while others can be studied to inform textile samples Forming produced by traditional methods. Contents 1 Resurface, reshape, and Quilting restructure Manipulation Quilting Introduction Flat quilting 2 Wadded quilting Enriching, embellishing, and adorning Adding Cord quilting 3 Bedecked, Shadow quilting bedazzled, Altering form and bejeweled Beading Using technology ▼ 4 Displacing, extracting, and distressing Subtracting 5 Constructing creating, and joining Forming Contents

▲ 1 1.01 Resurface, reshape, and Eighteenth restructure Century silk Manipulation bed using Quilting wadded quilting. 2 Museum of Enriching, Costume, embellishing, Bath. and adorning ▼ Adding 3 Bedecked, bedazzled, and bejeweled Beading 4 Displacing, extracting, and distressing Subtracting 5 Constructing creating, and joining Forming Contents

▲ 1 Wadded or English quilting Resurface, reshape, and restructure Wadded or English quilting is an embroidery technique that uses Manipulation three layers of fabric, in a sandwich construction, to afford warmth, Quilting protection and decoration. Lines or patterns of stitches hold the layers together and the quilting design is formed by the depression 2 created by the lines of stitching. Areas of heavy background Enriching, stitching contrast with the plain padded areas of fabric throwing embellishing, them into low relief. Complex arrangements of stiching patterns and adorning developed for use in both quilted garments and soft furnishings and Adding became characteristic to particular geographical areas of the country. 3 The padding forms a continuous layer throughout in this technique, Bedecked, giving warmth and weight but also having the effect of stiffening the bedazzled, fabric. The more densely the fabric is stitched the less flexible it and bejeweled becomes and therefore the scale and the density of the stitching Beading has to be considered throughout the design process. For this reason large pieces of quilting demand a simpler stitching design if 4 movement is to be maintained in the fabric. Displacing, Traditionally three layers are used; a top fabric with a smooth extracting, and surface; a filling layer or padding and a backing layer of butter distressing muslin or mull. When used for the top layer would often Subtracting consisted of or appliqué. The firmer the backing fabric the further the fabric is thrown forward into relief and therefore the 5 more pronounced the surface effect. Traditional fillings included Constructing carded wool or cotton but these are now usually replaced by creating, synthetic wadding, either polyester or triacetate. and joining See also Process for Wadded or English quilting Forming ▼ Contents ▲ Wadded or English quilting 1 Patterns of stitching have evolved through the working of traditional wadded quilting. Resurface, These have been developed or adapted from sources ranging from architecture, reshape, and geometry and natural form. The patterns illustrated below give some typical restructure examples of corner and border patterns used in the construction of wadded Manipulation bed quilts. Quilt makers male and female were usually divided into professional pattern Quilting makers who designed the patterns or marked them out onto the fabric and the workers who stitched the quilt. Colby, (1972) contains further references with 2 interesting details of individual pattern makers of the eighteenth century. Enriching, embellishing, and adorning 1.03 Adding Fan corner and detail of fan corner from eighteenth 3 Bedecked, Century quilt. bedazzled, and bejeweled Beading Church window border with heart and spiral fillings. 4 Displacing, extracting, and distressing Subtracting

Church window with 5 Constructing rose, leaf and spiral creating, fillings. and joining Forming ▼ Contents 1 ▲ Resurface, Process for Wadded or English quilting reshape, and restructure Manipulation 1. Select materials: usually a smooth closely woven fabric for the top such as Quilting cotton, fine linen, silk or leather; a filling layer such as flannel, foam backed knit or synthetic wadding and a backing layer such as muslin, organdie or 2 mull. Thread is traditionally matched to the top layer in terms of fibre and Enriching, colour, silk with silk, but both fabric and thread can be varied. embellishing, 2. Transfer the design to the top layer of fabric using an appropriate method. and adorning Adding 3. If large pieces are to be quilted the layers need to be tacked together. Place the layers onto a surface and smooth the fabrics out from the 3 centre Pin and tack a grid pattern working Bedecked, again from the centre outwards. If quilting by hand, bedazzled, large pieces of fabric can be stretched in a frame. and bejeweled With small samples an embroidery hoop should Beading provide sufficient stability without tacking. 4. Stitch around the lines of the design, running or are traditionally 4 used for hand stitching, these create a subtly different effect on the surface Displacing, of the fabric than a machine-stitched line. extracting, and distressing Machine quilting can be done without a frame using a , satin stitch, Subtracting chain stitch or other decorative line stitch. Many domestic machines have a quilting foot that allows for accurate spacing. A large stitch should be used and the machine pressure foot should be released slightly to prevent drag on the 5 material. Alternatively, the darning foot can be used to quilt using the free machining Constructing process and a frame to control. To secure wadding an overall pattern of stitches is creating, and joining necessary. Forming Wadded quilting can also be tied or buttoned to hold the padding in place. ▼ Contents ▲ 1.04 1 Wadded quilting worked in Sticku embroidery thread on Resurface, perforated grey suede using the Wilcom CADCAM embroidery reshape, and system, with Tatami fill and Accordion spacing stitch effect. restructure Manipulation Quilting 2 Enriching, embellishing, and adorning Adding 3 Bedecked, bedazzled, and bejeweled Beading 4 Displacing, extracting, and distressing Subtracting 5 Constructing creating, and joining Forming next example ▼ Contents 1 Resurface, reshape, and restructure Manipulation Quilting 2 Enriching, embellishing, and adorning Adding 3 Bedecked, bedazzled, and bejeweled Beading

▲ 4 Displacing, 1.05 extracting, and Wadded quilted distressing habutai silk Subtracting over polyester wadding, 5 embroidered Constructing using the Irish creating, machine with and joining metallic thread Forming and tamboured next example beads. ▼ Contents ▲ Wadded Quilting industrial 1 samples Resurface, reshape, and restructure Manipulation Quilting 2 1.06 Enriching, Fabrics embellishing, manufactured and adorning for Winter Adding 03/04 by Sincronia, Italy. 3 Bedecked, bedazzled, and bejeweled Beading Synthetic fabric specialists Leathertex produced a padded 4 group of fabrics as part of their Displacing, Autumn/Winter collection for extracting, and 2003/04. Different fabric types distressing Subtracting were bonded together with further surface treatments or finishes including the use of 5 needlepunching technology. Constructing 1.07 creating, and joining Chamois leather is backed with Forming fur pile and quilted with applied next example random rovings or yarns. ▼ Contents 1 Resurface, reshape, and restructure Manipulation Quilting 2 Enriching, embellishing, and adorning Adding 3 Bedecked, bedazzled, and bejeweled Beading 4 ▲ Displacing, extracting, and 1.08 distressing Beige cotton Subtracting quilted long bustle skirt with 5 train by Ghost Constructing Autumn/Winter creating, 1995. Wadded and joining quilting using Forming large scale next example motifs ▼ Contents 1 Resurface, reshape, and restructure Manipulation Quilting 2 Enriching, embellishing, and adorning Adding 3 Bedecked, bedazzled, and bejeweled ▲ Beading 1.10 Galliano for 4 Displacing, Dior plays with extracting, and voluminous distressing proportions Subtracting using wadded quilting.and oversized 5 detailing. Parka Constructing with lightweight creating, foam lining. and joining Winter 02/03. Forming ▼ Contents 1 Resurface, reshape, and restructure ▲ Manipulation Corded / Italian quilting Quilting

Corded or Italian quilting are embroidery techniques that use cord or 2 a similar padding yarn to raise the surface of the fabric to form the Enriching, design. Examples of corded quilting have survived from as early as embellishing, and adorning the sixteenth century. This technique is valuable for adding Adding stiffening properties to the fabric over and above the protection and warmth that other methods of quilting offer. Corded/Italian quilting was traditionally used in garments that did not require the bulk or warmth 3 added by wadded quilting. Historically, it was the preferred method Bedecked, chosen for both men's and women's waistcoats, children's coats bedazzled, and jackets and for hats and caps. In the nineteenth century it was and bejeweled popular for stiffening the fabric between the whalebone supports in Beading corsets. This technique can be worked with one layer of fabric with an 4 attached cord (cord quilting) or with two layers of fabric with the Displacing, cord threaded between the layers (corded quilting). extracting, and distressing Subtracting See also: Process for Cord quilting by hand 5 Process for Cord quilting by machine Constructing creating, Process for Corded quilting by hand and joining Process for Corded quilting by machine Forming ▼ Contents ▲ Cord quilting 1 Resurface, reshape, and This process was traditionally worked by hand on one layer of fabric using a restructure herringbone stitch across the back of the fabric to hold a cord in place. This Manipulation forms parallel lines of back stitching on the front of the fabric and gives a more Quilting raised effect than other corded methods. Process by hand 2 1 Select material: traditionally a smooth closely woven fabric is used with a Enriching, strong thread matched in terms of fibre and colour. Stretching the fabric and embellishing, applying beeswax to the thread makes the work easier. A padding cord or yarn and adorning is needed (firm cord being easier to handle). All cords need to be shrunk Adding before use to prevent puckering by boiling in water for several minutes. 2 Transfer the design lines to the fabric using an appropriate method. 3 3To work by hand; begin with a Bedecked, bedazzled, double and hold the and bejeweled cord beneath the fabric whilst Beading working a herringbone stitch from side to side of the cord to secure it in position. 4 Displacing, extracting, and distressing Subtracting 5 Constructing This technique was always worked by hand and is now rarley used as it is creating, possible to work a similar effect using the Cornely machine, either manually and joining operated or computer driven. Forming ▼ Contents ▲ 1.12 1 Chinese Turkestan cap in red silk worked almost entirely in Resurface, cord quilting, embroidered in satin stitch with floss silks over the reshape, and raised fabric and decorated with cross stitch. Running stitch holds restructure Manipulation the cords in position. Quilting Collection of the 2 Embroiderers' Enriching, Guild, number embellishing, 184. and adorning Adding 3 Bedecked, bedazzled, and bejeweled Beading 4 Displacing, extracting, and distressing Subtracting 5 Constructing creating, and joining Forming

▼ Contents ▲ 1 Resurface, reshape, and restructure Manipulation Quilting 2 Enriching, embellishing, and adorning Adding 3 Bedecked, bedazzled, and bejeweled Beading 4 Displacing, extracting, and distressing Subtracting next example ▼ 1.13 5 Constructing Cornely FBN cord quilting, worked on creating, transparent fabric with multicoloured and joining yarn couched underneath, combining the Forming techniques of cord and shadow quilting. Contents ▲ 1 Resurface, reshape, and restructure Manipulation Quilting 2 Enriching, embellishing, and adorning Adding 3 Bedecked, bedazzled, and bejeweled Beading 4 Displacing, extracting, and distressing next example ▼ Subtracting 1.14 5 Cornely FBN cord quilting Constructing worked on transparent fabric creating, dyed with green transfer paper and joining using a ladder yarn for the Forming underneath couched yarn. Contents 1 Resurface, reshape, and restructure Manipulation ▲ Quilting 1.15 Cornely FBN worked on 2 transparent fabric with a red yarn Enriching, couched underneath. embellishing, and adorning Adding 3 Bedecked, bedazzled, and bejeweled Beading 4 Displacing, extracting, and distressing Subtracting 5 Constructing creating, and joining Forming next example ▼ Contents ▲ 1.16 1 Cornely FBN Resurface, worked on reshape, and hand made felt restructure Manipulation using cotton Quilting piping cord couched underneath 2 ▼ Enriching, embellishing, and adorning Adding 3 Bedecked, bedazzled, and bejeweled Beading 4 Displacing, extracting, and distressing Subtracting 5 Constructing creating, and joining Forming Contents ▲ Corded quilting This method uses two layers of fabric and works well in combination 1 with trapunto, flat quilting or surface stitches. Rows of parallel Resurface, stitching are raised by a padding cord threaded through the stitched reshape, and channels. It can be worked by hand or machine. restructure Manipulation Process Quilting • Select materials: a soft fine fabric for the top layer with a more loosely woven backing and a padding cord such as cotton piping cord, quilting wool or knitting yarn. 2 Enriching, • Transfer the design to the top fabric using an appropriate embellishing, method or for a more complex design trace the design onto the and adorning backing and work from the back. The design must consist of two Adding parallel lines of stitching. • Layer the fabrics together and stitch down both sides of the 3 design lines. Bedecked, • Thread a padding cord through the open weave of the backing bedazzled, fabric using a bodkin or darning needle. It will be necessary to and bejeweled Beading leave the fabric at corner points and reinsert the bodkin leaving a Variations: small amount of cord showing. Corded quilting can also be 4 Displacing, combined with extracting, and shadow distressing quilting when Subtracting transparent fabrics are used with 5 padding Constructing threads of creating, An alternative machine method can be used for simple designs or coloured wools and joining an industrial pintucking machine or the technique can be imitated or cords. Forming by the use of a twin needle attachment available for domestic machines. ▼ Contents 1 Resurface, reshape, and restructure Manipulation Quilting ▲ 2 1.17 Enriching, Detail of quilted embellishing, fragment and adorning worked in flat Adding and corded quilting with 3 surface Bedecked, stitches. bedazzled, Collection of and bejeweled Beading the Embroiderers' Guild, number next example 4 4642. ▼ Displacing, extracting, and distressing Subtracting 5 Constructing creating, and joining Forming Contents ▲ 1.18 1 Balenciaga’s Resurface, corset style top reshape, and in silk-satin, restructure Manipulation 2001. Corded Quilting quilting. 2 Enriching, embellishing, and adorning Adding 3 Bedecked, bedazzled, and bejeweled Beading 4 Displacing, extracting, and distressing Subtracting 5 Constructing next example ▼ creating, and joining Forming Contents 1 Resurface, reshape, and restructure Manipulation Quilting 2 Enriching, embellishing, and adorning Adding 3 Bedecked, bedazzled, and bejeweled Beading ▲ 4 1.19 Displacing, extracting, and Nicholas distressing Ghesquière for Subtracting Balenciaga Le Dix, 2001. Elaborately 5 laced and Constructing ribboned silk creating, top using and joining corded quilting. Forming ▼ Contents ▲ 1.20 1 Corded quilting using the twin needle and Resurface, threaded cord on a domestic machine on reshape, and a transparent layer over printed fabric. restructure Manipulation Quilting 2 Enriching, embellishing, and adorning Adding 3 Bedecked, bedazzled, and bejeweled Beading 4 Displacing, extracting, and distressing Subtracting 5 Constructing creating, and joining Forming next example ▼ Contents 1 Resurface, reshape, and restructure Manipulation Quilting 2 Enriching, embellishing, and adorning Adding 3 Bedecked, bedazzled, and bejeweled Beading 4 Displacing, extracting, and distressing Subtracting ▲ 1.21 5 Industrially produced fabric using Constructing twin needles imitating traditional creating, and joining corded quilting, creating an all Forming over surface pattern. ▼ Contents ▲ 1 Resurface, reshape, and restructure Manipulation Quilting 2 Enriching, embellishing, and adorning Adding 3 Bedecked, bedazzled, 1.24 / 1.25 / 1.26 and bejeweled Beading 1.27 / 1.28 4 Altering form Displacing, extracting, and distressing ▼ Subtracting 5 Constructing creating, and joining Forming Contents ▲ Altering form 1 Resurface, The Introduction to Quilting has discussed the development of quilting historically for reshape, and both padding and protection. Over recent years designers have continued to restructure experiment with reshaping the body and altering form through provocative sculpted Manipulation clothes. Quilting In 1998, Viktor and Rolf caused consternation with clothes that questioned the conventional silhouette. “Clothes that threw any normal conceptions of body shape out of the window 2 … silhouettes inspired by the atomic bomb” (Stuart Shave). Catherine Hills, in her Enriching, article Like it or lump it reported on the difficulty of wearing their exaggerated padded embellishing, clothing on the streets of Soho. and adorning Adding Vivienne Westwood exaggerated the modern ideal of the body producing a radical new silhouette by padding out her models’ bottoms with huge, bustle like pads for the “On Liberty” collection for Autumn/Winter 1994-5. Her “Vive la Coquette” collection for 3 Autumn/Winter 1995-96 padded out the breasts and incorporated a false bottom cage Bedecked, bedazzled, forming a bustle (1.28). Jane Mulvagh in her book Vivienne Westwood An and bejeweled Unfashionable life believes Westwood was inluenced by Georgina Godley who used Beading the exaggerated bottom in her ‘Lump and Bump’ collection for Spring/Summer 1986, white Lycra dresses over foam rubber padding (1.26). Godley’s cited motivation for this exaggeration was feminism, combined with a desire to celebrate the 4 voluptuousness of the female form. Displacing, extracting, and Mulvagh also references the influence of Leigh Bowery on Westwood. Bowery was a distressing designer and performance artist who dressed provocatively using his Subtracting exaggerated stage costumes to transform and reshape his body (1.24) , discussed in Addressing the Century 100 years of Art and Fashion . 5 The most radical of all Altering form silhouettes was offered by Rei Kawakubo Constructing designing for Comme des Garçons Spring/Summer 1997. Kawakubo creating, experimented with padding the body, distorting the accepted norm of the female. (1.25) and joining The silhouette suggess deformities, disguising gender and questioning current ideals of Forming beauty. Movable shapes, bulges and humps suggested by padding. ▼ Contents ▲ “There were lopsided bustles, misshapen padded hips and collar bones, fat snakes 1 coiling around waists and rib cages, and even - there is no other word for them- Resurface, humps”, Susannah Frankel, Guardian Weekend. reshape, and The collection showed a predominately narrow silhouette with long slim dresses in restructure Manipulation stretch fabrics, white, red, blue and gingham all with padded shapes. These were Quilting contrasted with puffball skirts made from waxed brown paper shown with elaborately pleated organdy tops. The collection was shown without a catwalk presentation, bright lights or music, exaggerating its’ radical nature and stirring extreme reactions. 2 In her interview with Frankel, Kawakubo spoke of her feeling that fashion seemed to Enriching, embellishing, have lost its sense of innovation and excitement and that her intent with the collection and adorning was to develop a new way of thinking this being ‘the body becomes dress becomes Adding body’, to suggest to people ‘different aesthetics and values’. Hanne Loreck, in her article De/constructing Fashion/Fashions of Deconstruction: Cindy Sherman’s Fashion, considers the artist Cindy Sherman’s collaboration with 3 Bedecked, Kawakubo on a series of photographs for posters and advertisements. Sherman bedazzled, photographed herself in garments by Comme that included padded shoulders and and bejeweled stuffed sleeves, concepts that were to be developed further in Kawakubo’s Beading controversial 1997 collection. Loreck describes the collection as ‘experimental bulging bodies beyond gender’. Such altering of the body shape Loreck suggests leads ‘to great confusion in the body image of fashion and its obligatory ‘beauty’. 4 Displacing, Koda, in his book Extreme Beauty, recognises that some fashion collections of the past extracting, and twenty-five years that have been conceptually driven have exceeded their precedents distressing in terms of radical silhouettes. Not all of these exaggerated garments are intended as Subtracting wearable, but allow the designer to address difficult concepts at odds with the market. ▼ 5 Constructing creating, and joining Forming Contents 1 Resurface, reshape, and restructure Manipulation Quilting 2 Enriching, embellishing, and adorning Adding 3 Bedecked, bedazzled, and bejeweled Beading 4 Displacing, extracting, and distressing Subtracting ▲ Using technology 5 1.29 / 1.30 / 1.31 Constructing creating, 1.32/ 1.33 / 1.34 and joining 1.35/ 1.36 Forming ▼ Contents ▲ Using technology 1 Resurface, reshape, and Designers over recent years have become increasingly focused on experimenting restructure with new materials. This has led to a reconsideration of some existing processes Manipulation such as inflatable garments that make use of air as a means of creating padding. Quilting Pneumatic bust forms were advertised at the beginning of the twentieth century with the idea being reused for inflatable bras in the 1950’s and more recently in the Ultrabra Airotic manufactured by Gossard for Spring/Summer 2001 (Koda, 2 2002). This process was explored by designers in the 1960’s and more recently Enriching, both Beirendonck (1.29) and Miyake (Spring/summer 2001) have used inflatable embellishing, garments to enhance the male silhouette. CP Company produce ‘transformables’, and adorning Adding jackets that change into a variety of inflated structures (1.31). Mauro Taliani has used another existing technique developed for the army, this uses plastic tubing in a similar process to corded quilting in the design of a 3 jacket with an internal cooling system (1.34). Bedecked, bedazzled, Specialist fabric manufacturers are combining together many unusual fabrics with and bejeweled a variety of processes and fabric finishes to create quilted effects. Synthetic fabric Beading specialists Leathertex produced a padded group of fabrics as part of their Autumn/Winter collection for 2003/04. Different fabric types were bonded together and given further surface treatments or finishes including the use of the relatively 4 Displacing, new threadless needlepunching technology, fur pile and fake suede were extracting, and needlepunched in animal skin patterns. Coiano presented work using the distressing needlepunching process on a quilted ground at the Prato fabric fair for Subtracting Autumn/Winter 03/04 (1.33) . Producing threadless quilting is also possible by the use of ultrasound technology (1.32). 5 Fabric finishing processes can produce similar effects to quilting and other Constructing manipulation techniques. Illustrated here are examples of thermo printing (1.35) creating, manufactured by the French company Collection Luc for Autumn/Winter 00/01 and and joining heat embossed velvet (1.36). Other finishing processes offer simulated quilting Forming using printed adhesive or latex and chemical treatments. ▼ Contents ▲ Quilted related illustrations

1.37 2.32 1 Isabel Dodd. 1966. ‘Sculpted rayon velvet’. Stitching sample © the author Resurface, Techno Textiles. Marie Mahoney and Sarah E. 2.33 reshape, and Braddock. 1999. Page 79. London, Thames and Stitching sample © the author restructure Hudson. 2.40 Manipulation 1.38 Woman’s coif. E.G.Enterprises. 1993. Embroidery Quilting Shirring sample © the author Studio. Page 33. Photograph:Dudley Moss. 1.39 Newton Abbot, David & Charles. Shirring sample © the author 2.41 2 1.40 Stitching sample © the author Enriching, Blind tucks sample. LCF archive author unknown 2.42 embellishing, 1.41 Mini-dress, André Courrèges. Claire Wilcox & and adorning Pintucking sample © the author Valerie Mendes. Modern Fashion in Detail.1991. Adding 2.05 Page 125/6. London: Victoria and Albert Museum. Appliquéd rouleaux. LCF archive author unknown Photograph: Richard Davis 3.10 3 2.06 Bedecked, Shadow appliqué © the author Beading over a cord. LCF archive author unknown 5.10 bedazzled, 2.10 and bejeweled Couching sample. Dorothy Sim. E.G.Enterprises. ‘Labrinto’designed by Mauro Ravai for Waltex Embroidery Studio 1993. Page 168. Tricot, 2002. International Textiles number 824, Beading Devon, David & Charles. Photograph: Peter Read ‘What’s New’. 2.11 5.11 4 Couching sample. Dorothy Sim. E.G.Enterprises. Needlepunched fabrics produced by Etruska for Embroidery Studio 1993. Page 168. Displacing, 2002. Top: ‘Filarmonica’, fake fur reversing to red extracting, and Devon, David & Charles. Photograph: Peter Read taffeta checks. Below: ‘Baracas’, wool 2.12 needlepunched to form arabesque pattened distressing Jacket by Shiaparelli. Claire Wilcox & Valerie taffeta.‘I.T.Textiles Now’. International Textiles Subtracting Mendes. 1991. Modern Fashion in Detail. Page number 825. 121. London: Victoria and Albert Museum. 5.12 Photograph: Richard Davis. Leathertex manufactured samples. ‘I.T.Textiles 5 2.30 Now Autumn/Winter 2003/04’. International Constructing Historical sample: Cornely stitching on velvet. Textiles No. 830 Oct/Nov 2002. Page 6. creating, Author’s collection author unknown Photograph David Newson. and joining 2.31 ▼ Forming Shirring sample © the author Contents 1 1.37 Resurface, Sculpted rayon velvet, 1996. Isabel Dodd uses fabric reshape, and finishing techniques to create effects similar to quilting, restructure without the use of stitching by printing with fabric Manipulation adhesive or latex. Fabric finishes 2 Enriching, embellishing, and adorning Adding 3 Bedecked, bedazzled, and bejeweled Beading 4 Displacing, extracting, and distressing Subtracting 5 Constructing creating, and joining Forming next example ▼ Contents 1 Resurface, reshape, and restructure Manipulation 2 Enriching, embellishing, and adorning Adding Stitching 3 Bedecked, bedazzled, and bejeweled Beading 4 Displacing, extracting, and

next example distressing ▼ Subtracting 2.30 5 Velvet densely stitched with Constructing metallic thread using the Cornely creating, machine. The intense stitching and joining flattens the pile creating an Forming embossed or quilted effect, voiding the design. Contents 2.31 Quilted or embossed effect on 1 velour using the Wilcom Resurface, embroidery CADCAM system using reshape, and trapunto fill with accordion spacing restructure stitch effect, voiding the design. Manipulation 2 Enriching, embellishing, and adorning Adding Stitching 3 Bedecked, bedazzled, and bejeweled Beading 4 Displacing, extracting, and distressing Subtracting 5 Constructing creating, and joining Forming next example ▼ Contents 2.32 Repeat motif 1 using the Resurface, Wilcom reshape, and embroidery restructure CADCAM Manipulation system using trapunto fill 2 with accordion Enriching, spacing stitch embellishing, effect with a and adorning multicoloured Adding or ombré Stitching thread, voiding the design. The stitching 3 creates a Bedecked, bedazzled, quilted or and bejeweled embossed Beading effect on pile fabrics with a voided design. 4 Displacing, ▼ extracting, and distressing Subtracting 5 Constructing creating, next example ▼ and joining Forming Contents 1 Resurface, reshape, and restructure Manipulation 2 Enriching, embellishing, and adorning Adding 3 Bedecked, bedazzled, and bejeweled Beading Beading cord 4

next example Displacing, ▼ extracting, and distressing 3.10 Subtracting Beading over a cord with applied suede shapes on screen printed fabric with free machining, 5 Constructing couching and hand beading. creating, This technique creates a raised and joining effect similar to corded quilting. Forming Contents Needlepunching 1 Needlepunching is a new 5.10 Resurface, reshape, and embroidery process that Waltex Tricot are an Italian based company creating uses felting needles to restructure a wide variety of fancy fabrics. ‘Labrinto’ is a novelty Manipulation punch fibers of one fabric by designer Mauro Ravai produced by Tricot fabric into another. for 2002 using random laid printed wool. Normally used for 2 decorative effects, it can Enriching, also be used as a type of embellishing, construction technique and adorning although the bonding Adding process is relatively weak. In partnership with industry 3 the London College of Bedecked, Fashion currenly has the bedazzled, only threadless embroidery and bejeweled machine in the country, on Beading loan from the Tanaka company in Japan. 5.11 4 Etruska at Italian Il Panda Displacing, produced two novelty fabrics extracting, and

for jackets or coats using the distressing needlepunch method. Top: Subtracting The creative possibilities ‘Filarmonica’ uses fake fur are endless with soft reversing to red taffeta with shadow effects or the needlepunched checks. 5 possibility of transferring print, Constructing Bottom: ‘Baracas’ uses wool checks or stripes. creating, coating reversed to form and joining arabesque pattened taffeta Forming formed through needle Needlepunching punching.

Benefit to students • Variety in learning experience • Discussion board allows quiet students to receive feedback in less direct ways than studio critique • Students have greater control over learning, at own pace, as independent learners • Supports different learning styles • Forms part of a learning log (a requirement of FdA FDT) • Weekly tutor feedback summarises points made in relation to learning outcomes and comments on critique discussion • Knowledge sharing amongst peers • Reinforces core input • Students can prepare by reading ahead, allowing for more effective use of workshop time • Develops in depth knowledge of the subject area earlier in the course allowing earlier experimentation • Useful during periods of absence to ‘catch up’ • Assists the development of IT skills

Benefits for staff • Develops mature and independent approach to learning • Encourages participation from whole cohort during critiques/discussions • Posted tasks checks on understanding of workshop sessions • Develops IT skills • Reinforces learning outcomes through learning materials via Blackboard • Develops structure of knowledge of subject area • Supports studio work with increased contextual knowledge • Allows student to see broader range of examples, historical and contemporary (some inaccessible) • Promotes deep rather than surface learning • Allows for a broader subject information base to be delivered than can be covered within the contact time • Supports disparate ability levels. • By referencing the resource during workshops learning is reinforced