DOCSLIB.ORG

Time and Cloth, Dress 1.0 Catherine Kueffer Blumenkamp Sam Houston State University, [email protected]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Time and Cloth, Dress 1.0 Catherine Kueffer Blumenkamp Sam Houston State University, Blucat@Me.Com International Textile and Apparel Association 2017: Anchored by our Past, Navigating our Future (ITAA) Annual Conference Proceedings Jan 1st, 12:00 AM Time and Cloth, Dress 1.0 Catherine Kueffer Blumenkamp Sam Houston State University, [email protected] Trish Ramsay Sam Houston State University, [email protected] Follow this and additional works at: https://lib.dr.iastate.edu/itaa_proceedings Blumenkamp, Catherine Kueffer and Ramsay, Trish, "Time and Cloth, Dress 1.0" (2017). International Textile and Apparel Association (ITAA) Annual Conference Proceedings. 3. https://lib.dr.iastate.edu/itaa_proceedings/2017/design/3 This Event is brought to you for free and open access by the Conferences and Symposia at Iowa State University Digital Repository. It has been accepted for inclusion in International Textile and Apparel Association (ITAA) Annual Conference Proceedings by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. 2017 Proceedings St. Petersburg, Florida Time and Cloth, Dress 1.0 Designed by Catherine K. Blumenkamp, MPS in collaboration with Trish Ramsay, MFA Keywords: couture, surface design, sustainability, zero-waste Time and Cloth is a collaboration between artist and draper in the creation of singular elemental statements in women’s apparel. The work is reflexive; one creates the textile and one creates the garment, responding to one another's process to generate original designs. Combining objectives to experiment with discarded materials and to create zero waste instills natural constraints and inspires work within the confines of each fabric’s unique surface design and dimension to arrive at an aesthetically pleasing and wearable garment through couture techniques. Collaboration, process, and locale all have bearing on the final form. The designs are not preconceived but evolve in situ. The textile and the garment are purposely not planned together to allow for the improvisational aspect, integral to this combined design process and thus dictating the finished form. Knowledge of textile and apparel history and traditional construction techniques lend a framework for making. Dress 1.0 is composed of four panels of silk charmeuse, each measuring 14 inches in width and 42 inches in length. Silk was chosen over other fabrics for its hand and drape, as well as its receptivity to dye. The artist sourced discarded steel from local fabricators and scrap yards in southeast Texas. Rusted industrial parts (i.e. drains, plates, targets, paddles, etc.), along with tea tannins, were used to print and stain un-dyed 19mm silk charmeuse. The technique evolved through experimentation with various acidic and neutralizing processes. This method of textile printing is limited to warmer months, when outdoor temperatures are above 70 degrees Fahrenheit, expediting the formation of rust on steel. The surface design of each panel is a cohesive design within itself, created prior to and independently of the garment design. The industrial shapes printed on each panel of silk emerge as anatomical shapes in their placement on the body. Hereby the textile transforms from material to garment through the translation of printed lines and shapes to style lines and markers. None of the panels are cut. The silhouette is derived from arranging and joining the printed shapes and raw edges where they are most complimentary to one another and to the body. The seams are machine sewn, incorporating French seams wherever best applied. The neckline, armscye, sleeve, and hemline are each finished by hand with a handkerchief hem. These edges are intentionally Page 1 of 4 © 2017, International Textile and Apparel Association, Inc. ALL RIGHTS RESERVED ITAA Proceedings, #74 – www.itaaonline.org 2017 Proceedings St. Petersburg, Florida unpressed to draw attention to the gently rolled edge and its reference to the soft roll of the sleeve into the side and the easy roll of the hemline around the leg. The neckline and armscye are faced with nylon organza ribbon (5/8 inch) that ascends up and over the shoulder into a subtle strap. The outcome of this collaboration is an unspoken conversation between surface design and wearable form. While Dress 1.0 may be imitated, it cannot be repeated. However, this design process may be repeated, revealing new forms through iteration and collaboration. Page 2 of 4 © 2017, International Textile and Apparel Association, Inc. ALL RIGHTS RESERVED ITAA Proceedings, #74 – www.itaaonline.org 2017 Proceedings St. Petersburg, Florida Page 4 of 4 © 2017, International Textile and Apparel Association, Inc. ALL RIGHTS RESERVED ITAA Proceedings, #74 – www.itaaonline.org .
Load more

Recommended publications
  • Draperies Make Your Own
    RSlTV Of CULTURE DRAPERIES MAKE YOUR OWN . ARE DRAPERIES ON THE AGENDA for your next 15 stitches per inch; for medium-weight fabrics, 10 home furnishings project? By making your to 12 stitches per inch will give good results. For all own, you can save money and enjoy a sense of ac- stitching on draperies use a loose tension to avoid complishment. This booklet will help you sew drap- puckers on seams and hemlines. eries with a custom-made look in any color, texture, and design you choose. Measuring Length and Width The length of your draperies is a matter of per- SEWING PREPARATIONS sonal taste, as there are several generally accepted Select the appropriate thread and sewing machine lengths. In casual decorating, draperies may go needles for the fabric you choose. The thread should down to the sill or to the apron ; more formal drap- be about the same color and weight as the drapery eries go to the floor. Also, draperies may be hung fabric: for cotton or linen draperies, use mercerized from any of a number of places — from the top of thread; for synthetic fabrics, use synthetic thread. the window frame, at ceiling height, or from any If you use mercerized thread, use a number 14 point on the wall between the ceiling and the window needle; for synthetic thread, a number 11 needle is frame ( see Fig. 1 ) recommended. The width of the draperies depends on how much Cut a small swatch of the drapery fabric and test window you want exposed when the draperies are your sewing machine's stitch and tension.
    [Show full text]
  • I Was Tempted by a Pretty Coloured Muslin
    “I was tempted by a pretty y y coloured muslin”: Jane Austen and the Art of Being Fashionable MARY HAFNER-LANEY Mary Hafner-Laney is an historic costumer. Using her thirty-plus years of trial-and-error experience, she has given presentations and workshops on how women of the past dressed to historical societies, literary groups, and costuming and re-enactment organizations. She is retired from the State of Washington . E E plucked that first leaf o ff the fig tree in the Garden of Eden and decided green was her color, women of all times and all places have been interested in fashion and in being fashionable. Jane Austen herself wrote , “I beleive Finery must have it” (23 September 1813) , and in Northanger Abbey we read that Mrs. Allen cannot begin to enjoy the delights of Bath until she “was provided with a dress of the newest fashion” (20). Whether a woman was like Jane and “so tired & ashamed of half my present stock that I even blush at the sight of the wardrobe which contains them ” (25 December 1798) or like the two Miss Beauforts in Sanditon , who required “six new Dresses each for a three days visit” (Minor Works 421), dress was a problem to be solved. There were no big-name designers with models to show o ff their creations. There was no Project Runway . There were no department stores or clothing empori - ums where one could browse for and purchase garments of the latest fashion. How did a woman achieve a stylish appearance? Just as we have Vogue , Elle and In Style magazines to keep us up to date on the most current styles, women of the Regency era had The Ladies Magazine , La Belle Assemblée , Le Beau Monde , The Gallery of Fashion , and a host of other publications (Decker) .
    [Show full text]
  • Designer Sewing/Fashion Design
    Multiple Category Scope and Sequence: Scope and Sequence Report For Course Standards and Objectives, Content, Skills, Vocabulary Monday, August 18, 2014, 10:00PM Course Standards and Unit Content Skills Vocabulary Objectives District Business of UT: CTE: Family and . Fashion changes with time and Identify current apparel/accessories lines in the Fashion Advanced Consumer Sciences, UT: technology. fashion industry. Fashion (Week Grades 9-12, Designer Designer . Current trends in line, design Apparel 1, 2 Weeks) Sewing/Fashion Design Sewing/Fashion and color. Recognize line, design and color in relationship to Standard 20.0301-01 Students . Career and entrepreneurial current apparel/accessories lines. Lifestyle design Design (20.0301) will access current fashions. opportunities in the fashion lines (District) industry Identify career and entrepreneurial opportunities in 2014-2015 Planning and record keeping for . Objective 20.0301- . fashion industry. Draper, MG 0101 Discuss fashion a small businesses. Accessories as related to apparel. National Standard Describe the planning and record keeping processes Fashion line 16.5.1 related to small busineses. Objective 20.0301- Entrepreneurial 0102 Discuss fashion as related to household Free enterprise accessories. National Standard 16.5.6 Business plan Standard 20.0301-02 Students will discuss how to become an entrepreneur. Objective 20.0301- 0201 Discuss how to begin a small business/home-based industry. Objective 20.0301- 0202 Discuss how to keep records for a small business. Basic Equipment UT: CTE: Family and . Basic information on operation . Identify the parts and accessories for Hemmer Consumer Sciences, UT: and care of consumer/commercial sewing machines, (Week 2, 2 Weeks) Grades 9-12, Designer consumer/commercial sewing cutting and pressing equipment.
    [Show full text]
  • Apparel Manufacturing Glossary for Application Protocol Development
    TKH OF STAND & INST. NIST 1 PUBLICATIONS A1110M 5 5b 57 4 Apparel Manufacturing Glossary for Application Protocol Development Michael E. Read U.S. DEPARTMENT OF COMMERCE Technology Administration National Institute of Standards and Technology Manufacturing Engineering Laboratory Manufacturing Systems Integration Division Gaithersburg, MD 20899 Sponsored in part by DLA Manufacturing Technology Program QC 100 NIST U56 NO. 5572 1995 NISTIR 5572 Apparel Manufacturing Glossary for Application Protocol Development Michael E. Read U.S. DEPARTMENT OF COMMERCE Technology Administration National Institute of Standards and Technology Manufacturing Engineering Laboratory Manufacturing Systems Integration Division Gaithersburg, MD 20899 Sponsored in part by DLA Manufacturing Technology Program February 1995 U.S. DEPARTMENT OF COMMERCE Ronald H. Brown, Secretary TECHNOLOGY ADMINISTRATION Mary L. Good, Under Secretary for Technology NATIONAL INSTITUTE OF STANDARDS AND TECHNOLOGY Arati Prabhakar, Director PREFACE The National Institute of Standards and Technology (NIST) is engaged in a project to develop product data standards to support computer integration of the apparel product life cycle. The project is sponsored by the Defense Logistics Agency (DLA), and has been named the Apparel Product Data Exchange Standard (APDES) project. The APDES project utilizes the techniques being used by and developed for the Standard for the Exchange of Product Model Data (STEP). STEP is an emerging international standard for representing the physical and functional characteristics of a product throughout the product’s life cycle. Formal standards for STEP are being published under the auspices of the International Organization for Standardization (ISO) in the document series 10303-X. Many of the information requirements, as well as the software tools being developed to support STEP, are applicable for any manufacturing industry.
    [Show full text]
  • The Suit Book
    THE SUIT BOOK Everything you need to know about wearing a suit CLARE SHENG First published 2018 by Independent Ink PO Box 1638, Carindale Queensland 4152 Australia Copyright © Clare Sheng 2018 All rights reserved. Except as permitted under the Australian Copyright Act 1968, no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. All enquiries should be made to the author. Cover design by Alissa Dinallo Internal design by Independent Ink Typeset in 11/15 pt Adobe Garamond by Post Pre-press Group, Brisbane Cover model Lee Carseldine Styled by Elle Lavon Suit and shoes by Calibre Photography by The Portrait Store Illustrations by Jo Yu (PQ Fine Alterations) 978 0 648 2865 0 9 (paperback) 978 0 648 2865 1 6 (epub) 978 0 648 2865 2 3 (kindle) Disclaimer: Any information in the book is purely the opinion of the author based on her personal experience and should not be taken as business or legal advice. All material is provided for educational purposes only. We recommend to always seek the advice of a qualified professional before making any decision regarding personal and business needs. ACKNOWLEDGEMENTS This book wouldn’t exist without my Mum. As a single mother, she started a clothing alterations business with very little English and hardly any money, but a lot of guts. Over the years, she worked tirelessly for 12 hours a day, seven days a week, to grow the business and put me through private school and university.
    [Show full text]
  • E-Broidery: Design and Fabrication of Textile-Based Computing
    E-broidery: Design and fabrication of textile-based computing by E.R. Post M. Orth P. R. Russo N. Gershenfeld Highly durable, flexible, and even washable able computing.”1 Wearable computing may be seen multilayer electronic circuitry can be constructed as the result of a design philosophy that integrates on textile substrates, using conductive yarns and suitably packaged components. In this paper embedded computation and sensing into everyday we describe the development of e-broidery life to give users continuous access to the capabil- (electronic embroidery, i.e., the patterning of ities of personal computing. conductive textiles by numerically controlled sewing or weaving processes) as a means of creating computationally active textiles. Ideally, computers would be as convenient, durable, We compare textiles to existing flexible and comfortable as clothing, but most wearable com- circuit substrates with regard to durability, puters still take an awkward form that is dictated by conformability, and wearability. We also report the materials and processes traditionally used in elec- on: some unique applications enabled by our tronic fabrication. The design principle of packag- work; the construction of sensors and user interface elements in textiles; and a complete ing electronics in hard plastic boxes (no matter how process for creating flexible multilayer circuits on small) is pervasive, and alternatives are difficult to fabric substrates. This process maintains close imagine. As a result, most wearable computing compatibility with existing electronic components equipment is not truly wearable except in the sense and design tools, while optimizing design techniques and component packages for use in that it fits into a pocket or straps onto the body.
    [Show full text]
  • Timothy Dean Draper Department: History
    ABSTRACT Name: Timothy Dean Draper Department: History Title: "A Little Kingdom of Mixed Nationalities": Race, Ethnicity, and Class in a Western Urban Community—Rock Springs, Wyoming, 1869-1929 Major: History Degree: Doctor of Philosophy Approved by: Date: Dissertation Director NORTHERN ILLINOIS UNIVERSITY Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT In 1885, the mining settlement of Rock Springs, Wyoming, witnessed one of the worst episodes of ethnocentric violence in the urban West as Euroamerican miners massacred Chinese laborers and burned Chinatown to the ground. Less than four decades later, in 1926, inhabitants of Rock Springs, including immigrants and natives, Asian Americans and Euroamericans, came together at a time of heightened national ethnic tensions to celebrate the diversity of their municipal community in the first of four annual "International Night" festivals. This study explores the apparently dichotomous reality of Rock Springs from its establishment as a mining camp during the building of the Union Pacific Railroad in the late 1860s to the conclusion of the International Night movement in the mid- to late 1920s The focus of this dissertation centers upon the role of immigrants and their descendents in constructing diverse community networks and how they syncretized those varied networks into a unifying ethos of "municipal community," an identity expressed through their sense of ethno-racial boundaries, western heritage, inter-class cooperation, and negotiation with monopoly capitalism. By focusing on ethnicity, race, class, and region, I address how the inhabitants of Rock Springs negotiated the cultural and material challenges to construction of a community identity posed by a hegemonically inclined Reproduced with permission of the copyright owner.
    [Show full text]
  • The Haberdasher's Plot : the Romance of Small Trade in Frances Burney's Fiction
    This is a repository copy of The Haberdasher's Plot : The Romance of Small Trade in Frances Burney's Fiction. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/135987/ Version: Accepted Version Article: Wigston-Smith, Chloe orcid.org/0000-0002-8213-3231 (2018) The Haberdasher's Plot : The Romance of Small Trade in Frances Burney's Fiction. Tulsa Studies in Women's Literature. pp. 271-293. ISSN 1936-1645 https://doi.org/10.1353/tsw.2018.0027 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ NOTE: This is a pre-copyedited version of an article accepted for publication in Tulsa Studies in Women’s Literature. For citation purposes, please consult the definitive publisher- authenticated version, which can be accessed through Project MUSE, through JSTOR (five years after publication), or through the paper journal. If you do not have access to these resources, please contact [email protected].
    [Show full text]
  • Cutter / Draper
    Cutter / Draper Job Title: Cutter / Draper Department: Costume Shop Reports To: Resident Costume Designer / Department Head Start Date: December 2017 / January 2018 Compensation: Full time, non-exempt salaried position with benefits. Commensurate with experience. Institution The Omaha Community Playhouse (OCP), the largest community theatre in the country in physical plant, season subscribers, annual budget, and full-time employees, seeks a theatre artist to serve as Cutter/ Draper in the OCP costume shop. OCP’s full-time employees, part-time employees and volunteers produce 10 productions a year in two theatre spaces, as well as presenting 2 outside- produced productions in June and December, special events and fundraising benefits, and an Alternative Programming series. The Nebraska Theatre Caravan is the professional touring wing of the OCP, which produces at least one national tour per year. In association with Metro Community College, OCP is home to the Theatre Tech Apprenticeship Program, which gives students comprehensive insight into the technical careers of the entertainment industry through a blend of classroom and hands-on shop training. Apprentices work alongside master craftsmen and professionals (including costume shop artisans) to develop a cross-disciplinary foundation and focused training. Founded in 1924, OCP’s most renowned alumni include Henry Fonda and Dorothy McGuire, and current Broadway performers and Tony Award winners Norbert Leo Butz and John Lloyd Young. For 93 years, OCP’s high-level production values, including fabulous costuming and sets, have complimented the talented acting community in the creation of top quality theatre. Position OCP seeks a Cutter / Draper who, in partnership with the Resident Costume Designer / Department, costume shop staff, and other staff designers, will steward its artistic vision and inspire artists, staff, and volunteers to create the highest quality work.
    [Show full text]
  • Charles Kleibacker, Master of the Bias Cut; Designs, Construction and Techniques
    CHARLES KLEIBACKER, MASTER OF THE BIAS CUT; DESIGNS, CONSTRUCTION AND TECHNIQUES DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Joycelyn Falsken, M.A. ***** The Ohio State University 2008 Dissertation Committee: Professor Patricia A. Cunningham, Adviser Professor Kathryn A. Jakes Professor Alice L. Conklin Curator Gayle M. Strege Copyright by Joycelyn Falsken 2008 ABSTRACT Charles Kleibacker was a fashion designer in New York City from 1960 to 1986, a time when fashion styles reflected the turmoil that occurred in society throughout those years. However, through it all Charles maintained an individual design aesthetic – soft figure-flattering bias dresses with a classic look that could be worn for years. This earned him a devoted clientele of women who purchased his designer ready-to-wear garments at top stores in New York, or were custom fit in his workshop. Because of his preference for and skill with bias, he became known as the Master of the Bias Cut. Trained in French couturier methods of construction, Kleibacker’s garments were all produced with the highest standards in fabric, construction and fit. Bias is known to be the most difficult ‘cut’ to work with when constructing garments. Charles experimented until he figured out how to solve the challenges, and then trained his workers in the exacting techniques required. Having first a career in journalism, Charles’ path to fashion was in “no way normal” and his approach to his business and the industry was not the norm either. Starting small, through much determination and sacrifice, he overcame many obstacles to produce garments engineered for an enduring and graceful artistry.
    [Show full text]
  • Dressmaking As a Trade for Women in Massachusetts
    U. S. DEPARTMENT OF LABOR BUREAU OF LABOR STATISTICS ROYAL MEEKER, Commissioner BULLETIN OF THE UNITED STATES ) J WHOLE 1 Q 1 BUREAU OF LABOR STATISTICS) * * * \NUMBER lZJj WOMEN IN INDUSTRY SERIES: NO. 9 DRESSMAKING AS A TRADE FOR WOMEN IN MASSACHUSETTS MAY ALLINSON, Ph. D. SEPTEMBER, 1916 WASHINGTON GOVERNMENT PRINTING OFFICE 1916 Digitized for FRASER http://fraser.stlouisfed.org/ Federal Reserve Bank of St. Louis ADDITIONAL COPIES OF THIS PUBLICATION MAY BE PROCURED FROM THE SUPERINTENDENT OP DOCUMENTS GOVERNMENT PRINTING OFFICE WASHINGTON, D. C. AT 20 CENTS P E R C O PY Digitized for FRASER http://fraser.stlouisfed.org/ Federal Reserve Bank of St. Louis CONTENTS. Page. Introduction........................................................................................................ 5 .9 Chapter I.—Evolution of the trade in the United States................................... 1 1 -2 1 Chapter II.—The dressmaking trade of to-day..................................., ............. 23-52 1. The family dressmaker..................................................... 29 2. The journeyman dressmaker.............................................. 29,30 3. The private dressmaker..................................................... 31-33 4. The dressmaker of the transition stage............................. 33-37 5. Thedressmakerof the shopof specialized workers............37-42 6 . The commercial dressmaker............................................. 42-49 7. The manufacturing dressmaker......................................... 49-52 Chapter
    [Show full text]
  • Never Mind the Quality ... Feel the Width
    Slide Rule GAZETTE Issue 9 Autumn, 2008 “Never Mind The Quality ….. Feel The Width1” Jenny Hutchinson & David Rance Fig. 1: Legendary “Manny Cohen” & “Joe Kelly” Once Upon A Time …. The setting of a Tailor‟s workshop which was developed into a late 1960‟s television comedy series could so easily have contained the two intriguing Tailor‟s Squares which are the basis for this article. Certainly in the 1960s many tailors were still displaying their Tailor & Cutter Academy Diploma, perhaps signed by WDF Vincent as Chairman of Examiners, often as a centrepiece for their window display. However, it's doubtful if either of the two tailors above were amongst that exalted number! Fig. 2: The Tailor & Cutter Cutting Academy Diploma 1 First broadcast in 1967, “Never Mind The Quality Feel The Width” became a British TV sitcom classic that was to run for 39 episodes. It featured two tailors from wildly different religious backgrounds working in their shop in the East End of London. Manny Cohen, played by John Bluthal was Jewish, and Patrick Kelly, played by Joe Lynch, was Irish. 1 Slide Rule GAZETTE Issue 9 Autumn, 2008 Bespoke versus Ready-to-Wear In these days of mass produced, ready-to-wear, easy care, one-size-fits-all clothing, it is perhaps difficult to imagine that about a hundred years ago in Britain the clothing industry was very different indeed. As seen from two early catalogues [1] [2], this proud profession also spawned its own particular calculating aids. Fig. 3: Listed examples in the 1892 Rabone and 1909 Preston catalogues In the Victorian and Edwardian eras, the Tailoring profession was at its zenith; there was a vast selection of styles of men‟s suits for all occasions, and in certain quarters, to be seen in the wrong style of suit or other garment, could be seen as a social or professional catastrophe.
    [Show full text]