Proceedings ITAA 2012 Annual Conference

Proceedings

ITAA 2012 Annual Conference Honolulu, Hawai`i November 14-17, 2012

Creative Design Fiber Art

Anderson, Verretta. Armorium

Axak, Natalia. Aloft Bird Angel Wings

Baker, Renee. Bold Bella

Bennett, Sarah. Sangiovese

Bernstein, Rebecca. Vested in Geometry

Campbell, J.R. Oops, Sorry II

Chang, Li-Fen. Eco-Pop

Dames, Abigail. Coral Reef

Daniel, Katy. Uncaged

Dewey, Audra. Rebirth: In Memory of Aunt Vicky

Gam, Hae Jin. Forget Me Knot

Hall, Hanna. Viivat

Her, Mai See. Fallen Queen

Hobbs, Kayna. Whimsically Charred

Kane, Laura. Tree Ring Dress

Kwon, Yoo Jin. Mountain, Cloud, and Portrait of a Beauty

LaFleur, Rosetta. Aqua Windows

Malicsi, Jose Basil. The Imeldific Dress

Mamp, Michael. Hidden Memories, Forgotten Prayers II

Mamp, Michael. Hidden Words

Milani, Cassandra. Earth Warrior

Moody, Anna and St. Germain, Megan. Zeitgeist

Morris, Kristen. CoVess Parsons, Jean and McBee-Black, Kerri. Winter

Pyne, Ellen. Medusozoa

Pyne, Ellen. Seraph

Ray, Sheryl. Flight of the Weaver

Rich, Angelina. Rustic Luxury

Roche, Calli. Corporeal Extensions: Exercises in Paper Draping

Roche, Calli. Racism Imbued

Salas, Feliz. La Femme Parisienne

Salas, Feliz. Midnight Solstice

Sanden Will, Sherry. Natural Textured Wooden Dress

Sanders, Eulanda. Organized Chaos

Song, Ji Hyun and Yoo, Young Sun. Inconsistent Maze

Sparks, Diane and Jiang, Kinor. Metallic Shibori in Rose Gold

Stannard, Casey. Sea Ice

Tipton, Jo Dean. Jia

Tomita, Anna. Gift of Nature

Winford, Sarah. Film Noir

Wolens, Lily. Condom Couture

Wolens, Lily. Our Dark Shadow

Yang, Eunyoung. Brushstrokes in Red

Yu, Yang. Circles

Honolulu, Hawaii 2012 Proceedings

Armorium

Verretta Andersen, Colorado State University, USA

Keywords: Repurposed, recyclable

Armorium was designed with the intent to create a dress using 100% recyclable and repurposed materials. The inspiration for this garment came through the collection and experimentation of materials from pop tabs from aluminum cans, glass bottle caps, aluminum foil, and trash bags and combination of textures. A layering of the pop tops with hammered bottle caps created an armor-like appearance that was incorporated into the chest plate of the dress. This garment was designed and constructed to be modeled in a student produced fashion show featuring recycled garments.

The bodice was draped to create a pattern for the bodice. The bodice was constructed with a base of heavyweight non-woven interfacing. Over 1200 pop tabs and bottle caps were sewn and glued to the bodice on the dress form to maintain the shape and fit of the dress. Each pop top tab was sewn onto the garment one at a time. The pop tabs were overlapped to create curves over the female dress form. The bottle caps were flattened with a hammer and then cut in half. The bottle caps were then individually glued on the garment while it was on the dress form in order to create the shape. Page 1 of 2

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The skirt was designed with flat pattern drafting. The skirt includes five separate layers of black plastic trash bag tiers which meet at center back. The side aluminum foil panels were made by creating the texture and shape by hand. As a final touch, tabs on the front, back, and side panels were spray painted to create metallic shades.

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Aloft Bird Angel Wings

Natalia Axak, Texas Woman’s University, USA

Keywords: Design, sustainability, silk

Purpose Nature, with its infinite treasures and looks, never ceases to inspire us. Earthy and natural, the design draws inspiration from a whimsical forest with beautiful animals, birds and flowers. In creating the elegant sheath dress with bateau and silk bow enhanced neckline, the designer concentrated on sustainable design elements by using recycled and organic materials including fine quality organic silks and wools. The designer’s goal was to design a dress that was feminine and elegant, yet cutting-edge and enhanced a woman’s natural femininity. In seeking to identify the target customer, the designer defined an ideal woman as urban, 25-45 year old, who wants to stand out from the crowd and express her own individuality. She is elegant, stylish, and innovative. The designer’s apparel will encourage her to experiment with her wardrobe, develop an individual sense of style and build her fashion confidence even further. She is an affluent customer who likes quality product with innovative details. The wearer is passionate about life and the environment around her.

Process The design was inspired by gardens and the dreamlike silhouettes of nature. A larger collection was conceptualized for the defined customer. The designer used a lot of natural fibers like silk and wool to create the product because of the customer’s expectation of quality and comfort. Using 100% organic silks will make a figure even more feminine and beautiful, paying attention to the environment at the same time. Luxurious fabrics with intricate details indicate prestige with an air of sophistication. The delicate fabric and dreamlike silhouette are well crafted together with the consumer’s desire for adventure and self-discovery in mind. Sketches of daytime dresses cut on the bias were created with loose silhouettes. The garment was selected for design and construction from the group. The designer sought the perfect fabrics, wanting to keep the garment earthy and sustainable, yet sophisticated. Organic silks were found in different weights and fabric construction with a delicate hand. The fabrics were airy and breathable and would translate well into a multi-regional geographic market. Because the look of the garment is focused on natural beauty and because it draws its inspiration from whimsical forest with beautiful animals, birds and

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flowers, color trends were selected for 2012-2013, with a neutral and natural color palette including camel, ancient bronze, yew tree, and pond. Fabrics for the dress were primarily in the cream and camel coloring.

The designer had attended a felting workshop prior to designing the garment and had found wool clippings from a recent sheering. The decision was made to create a unique fabric for part of the design that enhanced its beauty and focused on its sustainable theme. After experimenting with the wool and silk gauze, the designer damp laid ringlets of cleaned wool on the silk gauze, and using a punch felting tool began to abrade the wool into yard goods of the silk base. Some of the ringlets of wool were left loose on the ends to create dimensionality and surface interest. After sufficient felting, the wool fibers integrated with the silk to create a medium weight, textural fabric, unlike any available in the market. A pattern and muslin were created using draping and flat pattern techniques and the garment was constructed.

Techniques: The garment was constructed using hand and machine sewing. A muslin was created for a first fitting to ensure fluid movement without a body tight fit. The goal was to create a sheath dress that had a smooth flow across the body, just hinting at the elegant curves of the wearer. Upon final approval of the fit, the fabrics were prepared. A hand-made felted fabric, created using organic silk and wool fiber, composed the skirting while a silk gauze shell fabric was used for the bodice and bow. A single layer of the gauze was embellished with organic wool clippings using a hand felting technique. Ringlets of wool fiber in variegated natural cream colors were integrated into the silk leaving dimensionality. Wool was sprinkled across the fabric rather than an even coating for appearance purposes, was felted, and finished with periodic amber crystal beads. The felted silk was used for the skirting of the sheath dress. A lining of fine silk chiffon was used to finish the dress. A side zipper was inset and couture stitch techniques were used to finish French seams and hems.

Because the dress design was created for women that value individuality, quality products, and sustainable lifestyles, the raw silk and wool composition incorporated innovative details that conveyed the designer’s unique vision. The dress provides customization of a unique, one-of-a- kind look for a sustainable and organically-minded, sophisticated consumer.

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Bold Bella Renee Baker, Illinois State University, USA Key Words: digital print, draping, drafting

The purpose of this look was to blend the classic, chic influence of Cristobal Balenciaga and the modern edge of Nicholas Ghesquière. This aesthetic fusion is the perfect ensemble for an exciting, romantic Hawaiian evening.

The process for the dress started with the design of the Hawaiian print. I created the Hawaiian print in Adobe Illustrator. I was inspired by the life and shapes common to Hawaiian prints and I wanted to maintain Cristobal Balenciaga’s elegant color preferences. I designed the print in black and it was then digitally printed onto white cotton fabric. To achieve the mint color of the dress, I combined two dyes, teal and kelly green. I mixed several batches to achieve the desired color. I felt the mint and black color combination would have received Cristobal Balenciaga’s approval. I wanted the ensemble to honor the Balenciaga name and maintain the aesthetic allure of the current creative director, Nicholas Ghesquière. The top of the dress is color blocked with a silver/gray, shimmery fabric to add dimension to the print. A small structured jacket with a built up neckline and a bold cap sleeve was created to complete the evening look. The jacket closes with a slanted, separated, metal zipper. Inspiration for the ensemble was drawn from Balenciaga’s Spring/Summer RTW 2006 collection and Spring/Summer RTW 2008 collection.

The techniques I used throughout the design process include digital printing for the Hawaiian print. I blended two fabric dyes and dyed the fabric to achieve the desired color of my design. The color-blocked top of the dress was pattern drafted for precision. The skirt layers were draped. A variety of circle skirts with handkerchief hems were used. The jacket was draped. I interfaced the lining of the jacket to maintain the structure of the look.

Several materials were used for this ensemble. The Hawaiian print fabric is 100% cotton; the skirt of the dress is lined with a polyester blend. The jacket is made from a shimmery 100% polyester fabric. The bottom layer of the skirt is the shimmery polyester lined with white polyester chiffon.

Date Completed: 5/25/12

Measurements: Bust 34 ½, Waist 25 ½, Hips 35 ½

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Sangiovese

Sarah Bennett, Iowa State University, USA

Keywords: digital printing, design, dyeing

Purpose

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

Process

This garment is the result of a great deal of past experimentation. A large number of sample swatches were printed and dyed using a wide variety of imagery and techniques. The results of this experimentation resulted in a general understanding of the integration of digitally designed fabrics with hand dye techniques. Many of the successful samples included both surface design techniques side-by-side in a single piece of cloth with little actual overlap, a concept that was explored in the creation of a different garment. The focus of this garment was to create more integration between the digital designs and the hand dyed elements.

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For the final garment design, a basic panel was created within Adobe Illustrator and Adobe Photoshop. The image consisted of a faux-basket weave of repeated geometric elements varying between solid colors and value gradients and growing in scale on the diagonal of the panel. The panels were printed in both right and left orientations to allow mirroring over the felt axis of the final garment. The structure of the garment was created by draping fabric on the bias utilizing non-traditional seam lines radiating from the center front neckline. These seam lines not only span the length of the garment but also wrap around the body ensuring the fluid bias drape flows evenly over the body. This creates a great deal of flare that is skims the body while the model is in a static position but flows away from the body with movement. The garment also involves the integration of contrasting materials through the use of leather straps that weave through the seams. After the fabric was digitally printed, cut, and sewn into the final garment, the hand dye techniques were performed. The dress was garment dyed through a series of dye baths utilizing ombre dye techniques. First, the dress was dip-dyed in fiber reactive procion dyes to create a base color layer. The dress was then dip-dyed in acid dyes with the garment gradually being lifted out of the dye bath as more dye was gradually added, creating a very deep, dark color at the hemline.

Techniques The construction of this garment required a number of skilled techniques. First, the digitally printed images were created utilizing both Adobe Illustrator and Adobe Photoshop software. This allowed for the creation of a print that was simple and geometric while still taking advantage of the potential benefits of the digital textile printing technology. The fabrics were printed on a state-of-the-art Mimaki digital textile printer. The garment was also dyed using fiber reactive procion dyes and acid dyes. Both of these dyes involved multi-step processes ensuring the formation of permanent chemical bonds between the dye molecules and the protein fibers of the fabric.

Materials The shell of the dress is made entirely from 100% silk charmeuse. The digitally printed fabric was pretreated to accept digitally printed images. The fabric was dyed using sublimation dye inks in the Mimaki digital printer as well as fiber reactive procion dyes and acid dyes for the ombre overdye element. The straps are made from a black, top-grain, cattle-hide leather. The lining is 100% acetate satin, and the thread is a corespun cotton/polyester blend.

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Vested in Geometry

Rebecca Bernstein, Drexel University, USA

Keywords: Neoprene, geometric, knit, quilting

The Oxford Dictionary of English (2010) defined avant-garde as “new and experimental ideas and methods in art, music, or literature.”

The objective of this design was to create surface interest that would enhance an avant-garde, ski wear collection. Layers of neoprene were employed to render geometric shapes by machine stitching. The engineered patterns form a complex puzzle with smooth and notched edges. A high collar at the back neckline referenced protection from the elements and signified high altitude. Adding a futuristic quality, the knit dress featured embroidered rings that embellished the hemline. The layout of the circles enhanced the geometric perspective of the vest.

Four layers of neoprene were quilted with geometric patterns that were hand illustrated. The five panels of neoprene were stitched individually, and joined using a lapped seam technique that reduced bulk. Seams were strategically placed on the garment to complement the quilting patterns. Furthermore, the side seams of the vest were removed to allow the neoprene to arc and extend from the body silhouette. The edges of the vest were clean finished with a bias binding tape.

A balance to the voluminous vest was a streamlined, turtle-neck knit dress. The main body of the dress was cut on lengthwise grain, while the sleeves are cut on cross grain. This provided a modern and technical appearance. As well, a geometric print was designed using circles in Adobe Illustrator. The chevron border pattern was executed by sewing plastic rings onto a knit dress. To complete the appearance, each ring was hand embroidered with dyed to match Cotton Perle threads. These rings added a minimalist point of view and suggested free expression of the wearer. Functionality was essential in this outerwear inspired design, so thumbholes were applied to the sleeve hems. The ability to defy the elements, grip a secure surface, and climb to new heights are concepts suggested by this design.

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Volume was critical in this design. The oversized vest and loose fitting turtle-neck dress demonstrated liberation from the past and advancement to the future. This concept was heralded by Rudi Gernreich in the late 1960s. “He worked often with knits, including many synthetic ones, making them in dots, stripes, checkerboard, and other Op art patterns …” (Milbank 1989: 223). As Gernreich was intrigued with harmonizing a look, Vested in Geometry merged the quilted vest and the circle embroidered knit dress as a collective theme.

In conclusion, this design expressed a craftsmanship grounded in futuristic themes. It demonstrated that modern garments can move beyond non-descript, gender neutral uniforms. By embracing fine arts methods, this design molded a synthetic material into an artistic textile, in addition a body protective garment.

References Milbank, C.R. 1989. New York Fashion: The Evolution of American Style. New York: Abrams. Stevenson, A. ed. 2010. "avant-garde noun". Oxford Dictionary of English. Oxford University Press, 2010. Oxford Reference Online. Accessed 13 May 2012

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Oops, Sorry II

J.R. Campbell, The Fashion School, Kent State University, Kent, Ohio, USA

Engineered print: digital textile printing; re-configurable garment; zero-waste design

Purpose: This piece was conceptualized to address alternating forces of ‘war and peace’ as a means to visually represent North and South Korea’s sixty-year long ‘truce’ along the DMZ (de- militarized zone). “Oops, Sorry II is the second in a series of “oops” pieces in which tubes are inserted into a large rectangular section of fabric. The piece can be displayed in either two-dimensions or worn as a three- dimensional garment, and constitutes a ‘zero-waste’ design, as no fabric has been cut away to create the structure. The tubes can function as entry and/or exit points for body parts, and as such, the garment can be re-configured into a number of different wearable options. In each, though, the weight of the rings in the inserted tubes hang in such a way as to be awkward and somewhat comical. This is posed in contrast to the use of the fine silk georgette and subtle gradated digital print design. The piece attempts to take a light- hearted approach at recognizing what appear to be mistakes, which allow it to metaphorically respond to cultural relationships and mis-understandings that often persist between Eastern and Western countries or countries in conflict.

Process: Digitally designed and printed 2D to 3D wearable art.

Techniques: A digital image of a waving line with alternating dots was created in Adobe Photoshop as a six yard long repeating unit. Alternating gradients of red to yellow were filled into the designed composition to create a subtly-changing color relationship. At a midpoint in the composition, the colors blend to almost imperceptible differences, representing the symbiotic relationship between war/peace, north/south, etc. A separate repeating-unit digital image file was created for printing onto the the tube sections, of which nine were sewn onto random areas of the garment to create a variety of ‘sleeve-like’ possibilities.

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Materials: Silk georgette

Date Completed: November 2010

Measurements: (reconfigurable – fits all sizes)

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Eco-Pop

Li-Fen Anny Chang, University of North Texas, USA

Keywords: Tab, pop, circle, sustainability

The purpose of the design is to promote environmental awareness by creating a modern wearable dress using recyclables. In addition to other recycled materials, including glass, metal, paper, and plastic, the dress is constructed primarily of can tabs, which I selected for their interesting shape, smooth texture, and size, features that make them excellent material for application as sequins on apparel.

It took approximately five years to collect the garment’s approximately 2,500 can tabs. Inspired by Vasily Kandinsky’s 1926 painting Several Circles, the dress’s pattern, spray painted on the tabs, also reflects the vibrant colors of Hawaii’s prismatic landscape. In order to incorporate the tabs with apparel, I chose an A-line flare silhouette and employed hand tacking. In addition, this silhouette diminished restriction on the wearer.

I first taped the tabs right-side up to prevent movement, then spray painted them with several coats of blue, yellow, white, and orange and left them to air dry. I employed draping to create the pattern, which I then outlined on the fabric, and then hand sewed the tabs to create the motif of stripes and circles. I sewed each tab twice at its top two corners, using four plies of regular thread. Next, I cut the fabric out and stitched the shoulder and right-side seams by machine. I then used hand stitching to sew the remainder of the construction, including the tabs, collar, lining, and closure.

Burlap was chosen as fabric for its durability and would support the weight of the tabs. Black was chosen as if a blank canvas to portray the colors and motifs. Black rayon faille was selected as lining to conceal the hand tacking.

The A-line dress features a twisted stand collar, a

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patched pocket, colored circles and stripes, uneven hem, and an invisible zipper as closure with a set of hook and eye. The focal point of the design is the white stroke that travels from the back hem to the neck, merging into the collar and creating a contorted effect. The measurements of the dress are 35” bust, 50” sweep, and 35” long measured from the center back neck to the hem. The dress was completed in February, 2012.

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Coral Reef

Abigail Dames, University of Nebraska- Lincoln, USA

Keywords: Protection, organic, beauty

The intention of this piece was to create a garment that is relevant in today’s society. I was reminiscing about a family trip I took to Hawaii. I remember the vivid colors of the coral reefs and the magnificence of their beauty. After doing research I found that the longevity of the earth’s coral reefs are at danger due to human actions and behaviors. According to a phys.org article titled “Death of Coral Reefs Could Devastate Nation”, written by Brian Skoloff (2010), approximately 27 percent of the world’s coral reefs are dead. If people continue to cause harm to the reefs it is predicted that another two-third of the earth’s reefs will be destroyed by 2032. What are some of the exact causes for this destruction? Pollution, global warming, and costal development are some of the factors that affect coral reefs. I hope that my garment will interest people to research the beauty and unfortunate death rate of the reefs today. Action is needed to protect the beauty and development of the world’s reefs. Florida is being proactive to protect the coral reefs. Dry Tortugas National Park, islands off Key West, is grounds for the largest “no take” zone, which restricts people from boating and fishing in that area; this will in turn allow the reefs to grow in a healthy and non-polluted environment. It is evident that people need to start being conscious of their actions and how they affect the health of earth’s coral reefs. If we want to continue to enjoy the visual brilliance the coral reefs major action needs to be taken to protect them.

The major aspect of this look is the vinyl skirt. It is meant to represent the protection needed to conserve the coral reefs. It is an A-line shell that shelters the body. The lines from the brain coral reefs inspired the hand cut design on the front and back of the skirt. The decision to mirror the

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design is due to the current trend of symmetry and to provide order to the visual intricacy of the design. Clear plastic was adhered under the vinyl for greater stability and structure. The negative cut outs were applied in the center of the bottom rim and hand stitched down in a mirror image as well. The asymmetrical hem was faced and a hand-sewn running stitch was applied along the hem and side seams. The under garment is a jersey knit dress consisting of a central stripe on the front and back. The stripe is a multicolored zigzag knit. It helps emphasis the symmetry of the outer shell and provides greater visual order. The sleeves of the dress were elongated to mimic the flow of soft corals in the ocean water. The capelet consists of three layers. The bottom layer is a foam grid which is hand painted in warm colors. The middle layer is a blue organza with a few blue and green pailettes added to create further depth and visual interest. This layer and the top layer were finished with a lettuce hem. The Gorgonian coral inspired the top layer of the capelet. Purple and blue yarns were utilized to create the machine made lace using Solvy and topstitching. It was then distressed and spots were burned to create greater texture. Purple seed beads were sporadically added on top of the lace. The final component of the capelet is the ruching at the neckline. It consists of coral power mesh, red chiffon, orange organza and yellow tulle; all were gathered and applied to the capelet. The edges were burned to make them look more like coral reefs. The final part of the look is the shoe accessories. They are made from the same blue vinyl used for the skirt. Both are made from the same pattern piece and are cut to mimic the shells motif. The front of the shoe accessories were adorned with coral reef inspired beads, mini seashells, pearl beads and clear seed beads. The overall color scheme was decided upon based on the idea that there is a multitude of techniques and textures competing for visual hierarchy within the look. By making the overall look monochromatic it is easier for the viewer to appreciate all of the different components. Warm colors were added as an accent to imitate the color of coral reefs.

Overall, the look speaks to the structure, movement and motifs of the coral reefs. Protection is a major component of my garment as well as the purpose for constructing this piece. People need to be aware of the consequences their actions have on the beauty and life of the coral reefs. If these natural structures are going to continue to be in existence their essence must be protected.

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Uncaged

Katy Daniel, Auburn University, USA

Keywords: Felt, Sustainability, Re-purposed

Inspired by the resourceful nesting techniques of birds, I used a variety of materials to create a design based on the structure of a bird cage. Materials were gathered from different places as they were found, mimicking the process of a bird; each material having a memory of how and where it was found. Flat pattern was used to construct a basic silhouette to support the design of the bird cage. A gray to neutral color palette of yarn, roving, and pieces of recycled felted sweaters were used to depict the metallic cage overlay. In keeping with the theme, I designed a handbag in a bird motif to represent the freedom of movement of an uncaged bird.

After flat-patterning a simple dress out of a black jersey for the cage, I fulled sweaters and cut pieces for the frame of the cage. Felted pieces and yarn were attached with a metallic thread to a water soluble stabilizer. During this process the felt and yarn are caught between the layers of thread much like the materials of a nest are entangled. After the stabilizer was dissolved, leaving a loose fabric full of movement, this layer was tacked onto the base. A needle felting technique was used to create the bird handbag by attaching wool roving and wool scraps to a base layer of fulled sweater. After beading, the colorful bird was made into a handbag. Heavy knit fabric, water-soluble stabilizer, old sweaters, yarns, wool roving, wool scraps, seed beads, thread, a zipper, and hook and eye closures are the materials used in this design.

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Rebirth: In Memory of Aunt Vicky

Audra Jade Dewey, Kent State University, USA

Keywords; Dyeing, Fiber Art, Crocheting

Purpose: The purpose of this project was to reuse my Aunt’s old wedding dress to create and transform it into something new.

Process: The process began with the dyeing of the dress. Next, cut the dress’s fabric into half- inch strips, that was tied together to create a ball of fabric yarn. The fabric yarn was then used to crochet the top. Draping was used to create the shape/design of the skirt. Hand and machine sewing techniques were also both used in the construction of the skirt.

Techniques: Draping, Hand/ Machine Sewing, Dyeing, Crocheting,

Materials: Silk Blend

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Forget Me Knot

Hae Jin Gam, Illinois State University, USA

Key Words: knit, draping, inspiration

The purpose of this dress was to create a garment that incorporates both purity and suggestive moods. The color and silhouette of the dress were inspired by the images of the desert mountains. I also wanted to incorporate a feeling of beauty and femininity.

My design process started with the creation of the textile design. Using a hand knitting machine, I produced 24-inch wide and 5-yard long fabric. I used undyed 100% cotton yarn. The foundation is a princess seam dress made with 100% white cotton. After the foundation garment was constructed, a single piece of knitted fabric was draped from neck to the bottom of the dress. A piece of knitted fabric was hand- and machine-sewn on the foundation of dress.

To begin the creation of the pattern for the dress, I used draping techniques on a size 6 dress form for both the foundation dress and main dress.

Materials: 100 % white cotton fabric, 100% undyed cotton yarn

Date Completed: May 2012

Measurements: Bust 33.5” Waist 25” Hip 36”

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Viivat

Hanna Hall, University of Cincinnati, USA

Keywords: design, surface design

“Viivat” represent the organic imagery of frosty, snow covered tree branches during cold winter months. The process of creating Viivat started by designing a garment that will compliment the pattern in the surface texture and the wearer. Two layers of the organza were cut following the designed pattern pieces. The fabric was then basted with water soluble stabilizer and cording channels were machine stitched based on the garment pattern pieces. After washing, and drying the pieces, the garment was sewn together. The wool yarn was then carefully forced through the silk organza from the back an run the entire length of the channels. After all the channels were filled, the garment edges were finished. The organza, with light, translucent areas, along with the corded opaque lines create an organic pattern throughout the garment. The corded channels create three-dimensional surface texture to the garment representing the roundness of the snowcovered branches. What ever is worn underneath this coat will ultimately have and effect of the final look.

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Fallen Queen

Mai See Her, University of Minnesota, USA

Keywords: Design, Non-Traditional Materials

The design purpose of Fallen Queen was to explore non-traditional materials that are not seen or used in day-to-day soft goods clothing. The designer was also given the task to investigate and discover sculptural shaping and innovative surface texture techniques with non-traditional materials. The process of designing Fallen Queen began with a strong emphasis on sketching and editing over 30 designs inspired from ice, glaciers and snow. Along with sketching and reforming designs, 3-Dimensional “sketches,” contributed into the process of creating this garment. 3- Dimensional sketches are digital photos of constructed prototypes made out of the selected material to document the various uses and techniques the material(s) is capable of creating. After exploring and documenting different materials such as, wallpaper, recycled shower curtains and butcher paper, the designer selected the non-traditional material that best constructed and represented the final design. The sharp edges and points of the “icicles,” which cover the dress, were used to create a texture that gives the impression of hard, cold, chiseled ice, while at the same time offers a soft element to the viewer’s eyes around the dress because of the color selection. The icicles that point outwards from the bust downwards to the hip create a visual pathway capturing the mysterious and irregular movements and creation of ice. The material was chosen to represent the inspiration of the design-ice, glaciers and snow, and in addition, the material selected- Painters Plastic, was most capable of mimicking ice and offers a romantic yet dark aesthetic the garment. The construction of the dress was assembled from the use of draping techniques, which captured the mold of the form and creates length and volume to the dress. Fallen Queen’s cold ice look was developed through a combination of burning and melting the Painters Plastic. In order to capture the texture of ice with the material, the designer melted layers of thin painters plastic to create the solid white color and rough surface. By melting the plastic, it became thicker as well as soft and pliable. Over 200 hand made icicles are pieced onto the dress shell; the pieces were fused together by high heat and hot glue. The silhouette of the dress takes its origination from a mermaid gown, however Fallen Queen is her own person, she has low mermaid flared skirt and long midsection. This abnormal silhouette creates an opportunity to capture the curves of the body and accentuate the feminine and dark stance of the dress.

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Whimsically Charred

Kayna Hobbs, University of Minnesota, USA

Keywords: design, burned, process

With Tim Burton in mind, Whimsically Charred was inspired by dark and quirky moods. Burning old white terrycloth towels with a blowtorch created the strips that look like animal pelts. The process of this transformation was eerily beautiful, and somewhat hilarious, inspiring the garment’s entire design. Further inspiration was found in images of dark forests, with twisting and winding branches and roots.

Towels served as a base for several sample tests in the preliminary developmental stages. These towels were bleached, starched, dipped in wax, and burnt in the testing stage of development. Burning the towels with a blowtorch gave them a texture and appearance similar to animal pelts. This created a new form of recycled and vegan “animal” pelts. Next in the process was 2D and 3D sketching. Using the burnt towels as yardage seemed bulky and too predictable. After a long ideation process, I decided on a final design. The towels as strips create interest in texture, line, and repetition. Chiffon pleats provide harmony with the curved lines of the towel pelts, and an uneven burnt hem mimics the imperfect edges in the towel pelts. A plunging neckline and long train grasp the elegance of a forest. The faux pelts wrapped around the body create a strong image of a forest. Copper glass beads complete the piece as a couture fashion gown.

This being an asymmetrical dress with a princess seam base, there were 8 basic pattern pieces that made up each test garment. In the final base dress there were 20 pieces because stylelines for the chiffon and canvas base dress had to be cut apart, as well as shaping princess seams all around the dress. The chiffon was pleated using a woven interface backing. The shape of the bust line is kept sturdy by a hand-shaped wire hanger that runs along the top front edge of the dress. The long box-pleated chiffon train was draped and burned at the hem and seam allowances, and inserted into the base dress as a straight line. The inside is finished with facings and a lining that extends to where the base dress and chiffon train

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meet. All burnt towel strips were draped on the base dress, removed, painted black on the edges, and permanently applied onto the duck canvas dress using hot glue for strength and ease of repair. Glass beads were applied using adhesive to finish Whimsically Charred.

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Tree Ring Dress Laura Kane, Oregon State University, USA Keywords: Nature, Beading, Evening wear, Design The purpose of this design project was to evoke the infinite nature of the tree ring through surface embellishment on a evening gown. The design was achieved using hand beaded strands of wooden beads in a oval formation on the sides of the gown. This not only reflected the concentric nature of the tree ring but also provided unique design detail. The pattern was developed using draping techniques on a legged form. The skirt panels were flat patterned and are cut in 1/4 circular panels. The outer shell of the dress is made of orange handkerchief weight 100% cotton chintz with the wrong side out. The dress is fully lined in interfaced quilters weight cotton and has 22 pieces of plastic zip ties for boning. The lining has a built in crinoline petticoat made of 30 yards of black tulle netting. Finally the dress closes with an invisible side zip and the collar piece has a large wooden bead with an elastic loop closure. The hanging beads of the skirt are stranded onto black crochet yarn for strength. The beading uses alternating 4x3mm, 6x5mm and 10x9mm dark brown wooden beads. The repeat of the beading is four 4x3mm, one 6x5mm, one 10x9, one 6x5mm followed by four 4x3mm and so on. Each strand of beads on the body of the dress are hand sewn over seam lines that form the shaping in the dress. Each strand of beading is sewn in such a way that there appears to be no end to each strand. This is consistent throughout the design except on center back, where there is a back triangular insert where the beading reaches upwards like the branches of a tree.

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Honolulu, Hawaii 2012 Proceedings

Mountain, cloud, and portrait of a beauty

Yoo Jin Kwon, Korea National Open University, Republic of Korea

Keywords: Korean

As a modern interpretation of Korean beauty, this design is to symbolically embody the

harmonious coexistence of nature and person. Layers of mountains, cloud, and the 18th century

woman and women’s dress are embodied.

First, the distant view of highland presents layers of mountains. From the mountain peaks

downward, indigo blue color fades out. The foot of a mountain is covered with cloud, being a

boundary between mountains. Another place where we can find the charming cloud-shape is the

hair style of women in the mid-eighteenth century. The woman in the painting by Shin Yoonbok,

one of the well-known painters in Chosun dynasty, wears an extremely short jacket, voluminous

skirt, and a big hair, often described as “cloud-like” hair.

The dress was cut on bias. The blue pieces describe contour of mountains and it aesthetically

reminds of the short jacket. Shin Yoonbok’s portrait was hand-drawn, imitating ink-and-wash painting effect. The mountains are echoed through the skirts by pinching technique and the

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cloudy volumonous shape of the skirt was created. Neckline was treated with Dongjeong, as shown in the portrait.

The blue pieces were hand-sewn using Gamchimjil, which is similar to overcaststitch and typically used in Korean traditional quilting. A technique called pinching was used to repeat the contour of the mountain. Hand-painting was done.

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Aqua Windows

Rosetta S. LaFleur, University of Delaware

Keywords: Sustainable, consumption, yarns, reused

Problem Statement. The United Nations Environmental Program defines sustainable consumption as consumption that meets basic needs and contributes to individual well-being, without compromising the environment. This definition does not suggest consuming less, but consuming differently and more efficiently. Fibers in apparel and textiles determine their sustainability quotient, i.e., biodegradability and influence decisions about acquisition, care and disposal. All apparel items will eventually reach the end stage of the life-cycle and will have to be discarded. The question arises- how to dispose of apparel/textiles after they are no longer usable, or wanted. Most clothing and textile products are covered by the fiber content labeling requirements of the Federal Trade Commission. Unfortunately, by the time some products reach the end stage of the life cycle labels containing fiber composition are often missing. This is especially true for textiles handed down or purchased from thrift stores. In this case, the emphasis can be directed towards extending the life of apparel/textile products through the re-use of their component parts to create new and different products.

There are many reasons why one might want to reuse components of discarded textile and apparel items, including to preserve sentimental attachments and to sustain the history associated with the item. The intrinsic or extrinsic value of a re-created item is increased when the “story behind” it can be told.

Goal, Objectives and Inspiration. The goal of this design was to extract yarns from attractive vintage curtains that had outlived their usefulness as window treatment, by incorporating them into surface design for apparel. Specific objectives included (a) reuse the yarns to develop surface structural detail for an apparel item and (b) create texture and color variation in sheer fabric. Inspiration for the fabric design was derived from aquatic waterweeds floating in a fresh a water aquarium in the room where the curtains once hung.

Process and Technique. This one-piece floor length design incorporates tulle and blue poplin recycled from previous design entries, and multi-colored spiral yarns removed from four panels of vintage curtains. Both the warp and filling

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yarns were removed from the curtains. However, only the warp yarns were used in the design because the desired colors and yarn type were not in the filling direction. The yarn lengths were over 84 inches. Turquoise, chartreuse and royal blue yarns were cut 1”-4” lengths and randomly arranged over pieces of poplin and polyester batting. Afterwards, the cut yarns were covered with pieces of tulle and free-form machine quilted with gold metallic thread. The design for the bodice was developed by flat pattern. After quilting the fabric, the bodice pieces were cut, sewn and lined in chartreuse colored batiste.

A slim under skirt was draped on a dress form and cut in the poplin. Layers of tulle were gathered around the poplin underskirt. Floor length yarns in alternating colors were arranged over the tulle. To enable the open back design, the skirt was sewn only to the bodice front ending at each side seam. For the section of the skirt that was unattached to the bodice, a back waistline facing was used to secure yarns to the skirt and finish the waist. Closures for the design consist of snaps and covered buttons. Snaps were used for the back bodice and at the skirt back waistline. Turquoise yarns were cut into 1/8-inch pieces and placed between layers of tulle and used to cover one-half inch buttons. The buttons were used as decorative accents on the bodice back. A 5-inch fringe of yarns in turquoise, chartreuse and royal blue was looped around three strands of turquoise yarn and used as a belted front waist accent.

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The Imeldific Dress

Basil Malicsi, California State University, Long Beach, USA

Keywords: Design, fabric, art, couture

The inspiration for the dress was taken from Marie Antoinette’s wardrobe outfit for her coronation painting dated 1775 by Jean-Baptiste Gautier Dagoty. Like Marie Antoinette’s coronation painting, the dress captures frivolity, grace, sweetness and sensuality but done in modern manner of lightness through the use of materials. The target market for the dress is for a woman who makes an entrance. She is a fashion risk- taker and she has the taste for the finer things in life. She is 25-40 years old. She has a degree in History, Art History or Fashion. She is a woman of leisure who is busy with her charity dinners, luncheons and gallery openings. The evening gown is for a special occasion to be worn to a special event such as a movie premiere, the opera or a charity gala dinner.

The process in designing the dress from the inspiration translated with the use of fabrics, textures and draping techniques. The shape of the Robe A la Francaise was also considered in the design process. As the first step, I draped a dress with muslin and made paper patterns. Next, I made a test garment for fit and style evaluation and then made the final dress.

The entire dress corset and skirt was draped on a dress form. The purpose was to create volume by fabric manipulation through draping techniques and folding similar to origami making. This process created the volume in the skirt. The sequined lace on the corset was laid on top of the Thai silk to create texture interest in the dress. The corset has boning understructure. The chiffon skirt was finished with French seams and rolled hems.

The materials included 00% silk chiffon, Thai silk, sequined lace, ostrich feathers and boning. This dress

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was competed in November 2011. The measurements for the dress are: bust 30”, waist 28” skirt length front 50”, and skirt length back train 80”.

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2012 Proceedings Honolulu, Hawaii

Hidden Memories Forgotten Prayers II

Michael Mamp, Iowa State University, USA

Keywords: mixed media, collage, fiber art

Hidden Memories Forgotten Prayers II is a visual exploration of long forgotten devotion and prayer in a mixed-media collage. Inspiration came from the prayer books of my mother who throughout the 1950’s collected prayer cards, mementos, and other items at catholic services and occasions such as weddings and funerals. My narrative develops at the point where these ideas, remembrances of her, and an obsession with the medium of fiber collide.

In addition, locations on the Iowa State University campus were visited with the prompter of ‘past’ in mind. Locales such as the university chapel, sculpture gardens, historic costume facility and sewing lab were visited where thumbnail sketches were executed of interesting shapes and motifs. These basic shapes helped to dictate the compositional layout of each of these four pieces. For example, vertical lines in the composition at the top of the piece were inspired by the dried stems of hydrangea, beads were attached where nature had placed nodules.

Substrate for the top three pieces was developed by tea staining 100% silk gauze and then bonding it to the surface of hardware cloth (commonly referred to as chicken wire). This created a moldable, uniquely textured surface upon which items could be collaged. Composition ideas were worked out in a design journal and then a fluid process was embraced that allowed for

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spontaneous assemblage. Layer upon layer of paint, paper, fabric, and found objects were combined to create an expressive whole. Items that would normally have been discarded such as fabric scraps, leftover fabric samples from an interior design studio, and prayer books that were falling apart, were put to good use in the creation of this art.

The created substrate also allows for additional hand stitching and beading as the surface can be manipulated even after the bonding process. This pulling of thread, and application of hand stitching is a contemporary, artistic representation of the needle craft of quilting, in essence, an interpretation of the craft in a non- utilitarian form.

To provide weight and variety, a collage was also created on traditional canvas and serves as the foundation of this total composition. Central to this piece is the placement of a faded image that is then ‘framed’ with tiny pieces of cut and placed cloth. The image is taken from a vintage prayer card. An image transfer to fabric was executed through the use of a gel medium. This iconography interacts with others throughout the work that will for many viewers conjure ideas or remembrances of prayer.

Texture is an important design element in this piece. Throughout, printed and written words fade in and out of the viewers sight. Upon closer inspection discernible words evoke emotional meaning, while others simply add to the rich surface quality of the collage. This collection of collage in particular incorporates layers of both handwritten narrative and printed items from reclaimed texts. These fade in and out as semi-translucent gauze was used as a layering device to allow for greater depth and development of form.

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Hidden Words

Michael Mamp, Iowa State University, USA

Keywords: Caftan, surface design, textiles

Hidden Words is an artistic exploration of color, surface development and form inspired by the the book of the same name written in Baghdad in 1858 by Bahá'u'lláh, the founder of the Bahá'í faith. The Hidden Words is written in the form of a collection of short utterances, 71 in Arabic and 82 in Persian, in which Bahá'u'lláh claims to have taken the basic essence of certain spiritual truths and written them in brief form (Hatcher, 1997, p. 23). Bahá'ís are advised by Abdu'l-Bahá, the son of Bahá'u'lláh to read them every day and every night and to implement its latent wisdom into their daily lives(Hatcher, 1997, p.24). The Hidden Words has been described as a treasury of divine mysteries that will open when pondered (Taherzadeh, 1976, p.58).

Working as part of ARTIS 505 Integrated Media, I completed an earlier project focused on a series of 2D collages. I had been exploring ideas of memory, loss, forgotten prayers, and devotions, utilizing prayer books that had been used by my mother in the 1950’s. She kept Catholic prayer cards, notes and mementos that she collected on holy days, funerals, weddings and other events that happened in the church. I wondered where does the energy of once passionately felt devotions go? These words and thoughts of prayer and contemplation carried such weight and value, how could these ideas inspire a textile surface? Figure 1. Hidden Words, front view These personal explorations and a study of the Bahá'í faith resulted in the completed garment you see in figure 1. A highly developed textile was used in the form of a caftan, which has long been seen as an “ethnic” garment and has been adopted by cultures around the world (Tazi & Rey, 2010, p.10). The word caftan is actually derived from the Persian word xaftân. Conceptually, I had a link in garment form and concept that worked well, the focus then became on the development of appropriate techniques.

The first design challenge was to find a way to incorporate text into the surface of the textile in such a way that the text, when combined with other surface elements, would not over-power the

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composition. According to Dunnewold (2010), the flour paste resist method works well for “writing” on fabric in an abstract/textural way. Multiple samples were completed on different types of cloth including cotton and silk varieties. This resist method involved coating the surface of the fabric with a flour-paste mixture, writing in the surface of the fabric when the paste was still wet with a wooden skewer, allowing the yardage to dry, and then brushing on thickened dye. Once this process was complete, the yardage was hand washed multiple times to remove the paste, and words such as: hope, lost, memory, remember, and never forget began to emerge.

From there additional layers of color, and texture were developed through immersion dyeing, color discharge, block printing, hand painting, stenciling, free-form machine embroidery and beading. The resulting fabric is rich with pleasing visual elements but also, upon further inspection from the viewer, communicates a distinct narrative as seen in figure 2.

The caftan shape was draped and only minimal scraps of fabric were not used in the final garment. To complete the look a yarn necklace was created in complimentary gold yarn by coiling at intervals along Figure 2. Hidden Words detail the skein. Beading was added to the necklace to provide additional interest and depth.

References

Dunnewold, J. (2010). Art cloth a guide to surface design for fabric. Loveland, CO: Interweave Press, LLC.

Hatcher, J.S. (1997). The Ocean of His Words: A Reader's Guide to the Art of Bahá'u'lláh. Wilmette, Illinois, USA: Bahá'í Publishing Trust.

Taherzadeh, A. (1976). The Revelation of Bahá'u'lláh, Volume 1: Baghdad 1853-63. Oxford, UK: George Ronald.

Tazi, N., Rey, D. (2010). Tamy Tazi: Caftans. New York, NY: Skira.

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Earth Warrior

Cassandra Milani, Drexel University, USA

Keywords: Knitting, dyeing, samurai, armor

“The Japanese samurai is usually regarded as being an individual warrior, proud and aloof, to whom personal honour and prowess were of the utmost importance …” (Turnbull & Hook 2000: 4) .

Earth Warrior was inspired by Japanese samurai armor, specifically the technique of the woven scales and the graphic shapes of the masks. The objective for this research was to integrate knitting and the texture of scales into a hand knit sweater. Furthermore, the silhouette of the sweater was designed to imitate the volume of clothing worn under the armor. Underneath the sweater as armor, a body suit is presented that defined the figure. The print on the bodysuit originated from images of samurai masks that were reproduced by hand and manipulated to create new patterns. These garments are intended to convey warmth, pattern, color transformation, and volume.

For the sweater, knitting patterns were created from a coat that was draped on a dress form. The knitting was prepared on circular needles to create the sweater, while some rows of knitting were pulled up to fashion the peaks at the shoulder and elbow. This detail was inspired by do- maru style were “very large shoulder guards” and sleeve armor provided protection and intimidation (Turnbull & Hook 2000: 6). The three body sections were knit in a tube and seamed together after being hand-dyed.

For the bodysuit, a samurai mask was sketched and digitally traced in Adobe Illustrator. Thereafter, the path based illustration was manipulated in Adobe Photoshop to create a textile design stripe. The stripe was combined with a triangle motif pattern, followed by the repeat sequence that created a range of printed shapes. This print layout design was sent to a digital print bureau for production. To complete the desired effect, the yardage was hand dyed blue. Similar to the concept of the Hotoke-do armor which was “hammered and lacquered to resemble a human torso…and show the shape of the spine,” the printed body suit in the Earth Warrior design defined the upper body through the engineering of the print scale (Turnbull & Hook 2000: 38) .

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Raw materials used in this exploration embraced the idea of strength from nature and sustainability. The sweater used 100% organic merino wool yarns, while the bodysuit was produced from 100% organic cotton jersey. By transforming these materials into brilliant, textural, and robust garments, the idea of organic and sustainable fabrics being dull has been challenged. Earth Warrior brings warmth, conservation, and strength to the wearer comparable to the armor worn by Japanese samurais during the sixteenth century.

References Turnbull, S. and R. Hook. 2000. Samurai Armies: 1550- 1615. Oxford: Osprey Publishing.

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Zeitgeist Anna Moody Megan St. Germain, Iowa State University, USA

Zeitgeist comes from the task of creating a garment that has a 2D and 3D affect. Our class was assigned a partner at random pick and then given the chance to collaborate with this person for a mutual agreement on a full design.

Our instructor Sarah Bennett accompanied us within our design and sewing process. She provided specific books in which taught us what shapes will make a garment stand away from the body, for the 3D effect. She is also in charge of the digital printer at Iowa State University, we used this machine multiple times throughout our semester but we specifically targeted it for this project.

Our process of designing and sewing was definitely challenged when both Megan and I were given a specific project for our creative design class at Iowa State University. Megan and I decided to each sketch up designs and we would then decided on a final garment. We took class time to research and sketch for the first couple days, but all other research had to be done on our own time because pattern-making process started that next week. We took our creative minds to the computer lab to then start research. We then researched ideas and decided to take inspiration from a famous painter, Andy Warhol. We took our inspiration from his Endangered Species: Grevy’s painting. Our final design was chosen from two different ideas, which came to the agreement of a dress. Here, we transformed, distorted, rotated, cut, and placed the image into an Adobe Illustrator file this file was used for our master file to print onto fabric. We then got the chance to watch and help with the digital printing process. This was a process of using our image file and sending it to the computer generated printer at Iowa State University. Then after printed we have to steam the newly printed fabric therefore the ink sets in, this process has to be down twice. After all the printing process we then had to take it home to be washed and dried.

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Within the design we explored ways to create a 3-Dimentional effect on the body. Using a form we then draped and played with shapes to see what shape would make the fabric stand away from the body. We wanted to incorporate both form and structure, with the idea of interacting with the body. Our dress accentuates the torso with a corset top, while standing away at the hips, and also at the back as a shawl, or collar. The shoulders are also exposed, to portray a femininity relating to silhouettes throughout the times. Which takes us to our Queen Elizabeth inspiration, this came into the dress on the back where we have a standing shawl, this incorporation gave us a little more story to our dress in which gave a very interesting 3D shape. We spent time troubleshooting how to create the structural form we sought without compromising the hand and drape of the fabric.

In the creation of the structure we played with paper a lot. The side panels were a result of us folding paper like origami until we found something that would structurally hold both the fabric and lining. We also had to think in untraditional ways when closing the garment since it was all one piece. Difficulties for our sewing process came into action here, we had to work hand in hand to figure out the best possible way to close the garment without any raw edges showing. We also thought of the idea of versatility, in the garment being worn more than one way. The skirt can be worn down, or buttoned in three different fashions. The cape or shawl can be worn up or down, and it's reversible.

After playing with paper shapes and making more then one muslin we finally got all pattern pieces finalized and the sewing process was ready to begin. The creative process continued into the fashion fabric, where we finalized form and function when seeing how our actual fashion fabric stood the wear of the design. Our dress is reversible so we spent a lot of time on both the outer shell and lining of the dress. All in all our dress can be worn 4 strong ways but also has potential to be worn in a few more combinations depending on the wearer and their own personal style.

This picture shows the Adobe Illustrator file we created and the print of the fabric.

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Honolulu, Hawaii 2012 Proceedings

CoVess: Ideology of collaborative fashion

Kristen D. Morris Cornell University, USA

Keywords: collaboration, experiential, design

Through collaboration among designers and end users, we embark on a process of enhancing the joy of making experiences of the design process more engaging for the end user. Consumers are looking for a balance between passive consumption and thoughtful creative experiences (Bjorgvinsson 2008; Sanders & Stappers 2008). Through collaboration between designers and consumers, co-design is able to focus not only on the product, but also on the experience that the product encompasses (Sanders 2006).

‘CoVess’ represents a conceptual idea of collaboration between designers and patrons in a gallery exhibition in which the viewers are invited to participate in a collaborative experience. The title, ‘CoVess’ (the word ‘covess’ is slang for woman or girl) is a play on the words collaborate and vessel. End users are considered ‘vessels of new ideas’ within collaboration, resulting in the title for this installation of a conceptual interactive design process. Through collaboration between designers and patrons, co-design is able to focus not only on the object, but the experience embedded in the object. Scholars have noted that participation makes the experience more meaningful because it taps into our desires to be creative and communicate.

‘CoVess’ is an actualization of the collaborative design process. The initial felt ruff was gathered and hand stitched to create a ruffled effect by the designer. Participants at the gallery exhibition were encouraged through visual media as part of the gallery installation to further cultivate designs on both a female and male form. Patrons used repurposed industrial felt remnants to pin and construct design concepts onto the dress form. The abstract garment’s aesthetics were inspired by the shapes and textures of the felt waste.

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‘CoVess’ embodies the idea that collaboration is a viable way to design apparel products which may enhance the experience for the end user. Technology and the global economies are dictating that the field of design expands into a cross-disciplinary mindset; the ideology of collaboration is a method by which this transformation may be possible. Apparel designers are no longer isolated into particular fields or specializations and they are being asked to cross conventional creative disciplinary boundaries. In order for not only designers (as facilitators), but also the apparel products themselves to survive in this increasingly complex and interdependent economy, we need to adopt new methods to create novel products and experiences for consumer markets. One such method is through design collaboration with the end-consumer of apparel products. The interaction between the apparel designer, object, and end-user can create a meaningful experience to increase satisfaction and longevity of the end product.

Collaboration with end users is a strong approach to developing workable and innovative solutions that bring end-users into the design process to identify real customer needs (e.g. Binder et al. 2008). Co-design offers a process, although not clearly systematic, which will help identify important user requirements in incorporating the voice of the consumer into apparel product innovation. As designers and end-users collaborate to create innovative benchmark products, and technology further develops to support collaboration, we will start to see a stronger relationship between the producer and the object. Strength in this bond will not only be guided by the advancement of technology and fashion, but also guide it.

References

Binder, T., Brandt, E., & Gregory, J. (2008). Design participation(-s). CoDesign, 4(1), 1-3.

Bjorgvinsson, E. B. (2008). Open-ended participatory design as prototypical practice. CoDesign, 4(2), 85-99.

Sanders, E. B. (2006). Design research in 2006. Design Research Quarterly, 1(1), 1-8.

Sanders, E. B. N., & Stappers, P. J. (2008). Co-creation in the new landscapes of design. CoDesign, 4(1), 5-18.

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Winter

Jean Parsons, Kerri McBee-Black,

University of Missouri-Columbia, USA

Keywords: Design, minimal waste, digital

Winter is a prototype jacket created as part of an ongoing research project focused on historical analysis of garment patents. The original patent was a single pattern piece with minimal cuts and seams. The purpose was to determine the feasibility of the pattern development process and to create a design that could eventually be cut with minimal waste and with less sewing labor.

The patent research began with first testing the pattern in half scale, and then full size. The first designer began with the original pattern and experimented with the side seam and sleeve detail, allowing for more fullness of the sleeve cap and a softer drape at the armseye. The sweep of the jacket was altered to achieve a more fluid drape from the center front. Although the original pattern was for a man’s traditional jacket silhouette, the designers chose to add additional fabric to allow more fullness and reorient placement of the cuts on the body, at the same time contouring it for a woman. Center front is on the bias, thus allowing a softer drape over the bust, and the excess fabric was manipulated with a series of deep folds and pleats. A single seam joins back to front in an angled line that is oriented to follow the pleats. It is still cut from a single pattern piece, with the exception of facings and a V-shaped inset at upper back.

When the designers determined the final shape the second designer engineered a boarder print that flows with the folds of the coat and provides visual impact where center front and center back meet. The digitally printed surface design was developed from a series of both photographic images and floral images achieved through scanning the actual flowers. The entire print was converted to sepia tones to create an antiqued appearance.

The jacket is printed on 100% linen, fully interfaced and lined with rayon. To maintain center front balance a hidden closure is used.

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Medusozoa

Ellen Pyne, Cornell University, USA

Keywords: Jellyfish, Transparency, Volume

Jellyfish, with their transparent outer skin and their opaque interiors, inspired “Medusozoa”. They gracefully float through water, defying gravity. The water surrounding the jellyfish alters the way the jellyfish is seen, creating multiple layers of transparency. The shape and volume of the jellyfish as well as the contrast of transparency and opacity were incorporated into the ensemble.

The transparent exterior of the dress mimics the umbrella like skin of the jellyfish, in both transparency and volume. The soft, solid interior of the dress imitates the soft body inside of the jellyfish. The stiff fabric of the outer shell holds its own and imitates floating.

The back “shrug” was inspired by the water and bubbles surrounding the jellyfish. The added layers of transparency and bubble like shapes descend down the back.

First, I found a material that was both transparent and stiff to create both the look and volume I wanted. It is a transparent plastic woven netting. Then I devised a tucking method to replace gathering on the stiff material. Next, I created the shapes for both the dress and “shrug” out of paper, which mimicked the stiffness of my fabric. I draped the interior lining and the base of the shrug in muslin. To create the bubble hem in the dress, I tucked the hem then inserted boning into the grosgrain ribbon that finished the edges, to ensure the hem stood at full volume. Then, I sewed a grosgrain ribbon onto the center front hem that attaches to the center front of the yoke and lifts the hem. This helped create the floating effect.

To create the shrug, I created a base to support the shrug. The base has two parts: one piece that holds onto the shoulders and one piece that holds the “bubbles” in place. The tucked “bubbles” were then sewn together and attached to the base.

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Honolulu, Hawaii 2012 Proceedings

Seraph

Ellen Pyne, Cornell University, USA

Keywords: Angelic, Wrath, Divine

“And I saw an angel standing in the sun, who cried in a loud voice to all the birds flying in midair, ‘Come, gather together for the great supper of God, so that you may eat the flesh of kings, generals, and the mighty, of horses and their riders, and the flesh of all people, free and slave, great and small’” (Rev. 19:17-18).

Angels sent to plague the Earth from the book of Revelations inspired “Seraph”, specifically the angel in the above verse. Their righteous wrath combined with divine perfection creates a balance of strength and beauty. One typically envisions angels as peaceful, winged women with harps. However, these holy warriors sent to condemn the wicked with terrible plagues illustrate both extreme power and divine fairness.

The above angel, because of its contrast in imagery, particularly inspired me. A perfect angel standing in the sun talking to birds seems like a beautiful, peaceful image. Then the flesh eating birds attack, and what started as beauty turns out to be horror. The power of the avenging force is now added to the image of peace and beauty.

I used the shape of the garment to symbolize this clash of imagery. The solid volume of the bodice offsets the softly curving feathered skirt. This contrast illustrates the contrast between the righteous wrath and the divine perfection of these warrior angels. The feathers swirl up and encompass the bodice to mimic a flock of birds swarming upwards to begin their attack on humanity. Finally, I selected an all white color scheme to symbolize the purity and divinity of the angels.

To create a strong shape out of the bodice while still using a soft, textured knit, I used multiple layers. The bodice has four layers, the outer knit, the outer fabric base, the interfacing, and the inner lining. The outer fabric base provides support to the knit; both layers sit on top of an extremely thick interfacing to create the Page 1 of 2

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shape. These layers were all hand tacked to each other. To achieve the desired volume, I draped the pattern shapes of this bodice using paper.

The skirt is made of spiraling panels of polyester lining covered with rows of feathered trim. I draped the skirt in muslin and then divided it into the separate panels. The polyester panels were then cut and covered with feathers before being sewn together.

Finally, the skirt and bodice were sewn together. I then took small lengths of feather trim and hand stitched it to the bodice of the dress. Then, I took individual feathers and hand stitched those, using glue to reinforce them.

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Flight of the Weaver

Sheryl Ray, North Carolina State University, USA

Keywords: Hand Weaving, Native American

According to Navajo legend, weaving began when Spider Boy brought the first loom to the Navajo people. The frame of the loom was created from the power of the sun, the warp yarns made from the rain, and the lashing cords from lightening. Spiderwoman then came to show the people how to use the loom to create blankets and rugs. These looms were crucial for the survival of the Navajo people and allowed them to prosper (“The More Things Change”). I was lucky enough to spend the majority of my life thus far in the desert southwest, surrounded by the rich cultures of Native American tribes. While in Arizona, I frequented the Heard Museum, where I learned about Native American cultures and the beautiful works they created. I was always amazed at the attention to detail and the dedication that it took to complete these items. Some of the works would take years to complete. When searching for inspiration for the pieces I have created here, I felt a connection to the Native American artists. The attention to detail and dedication to the art inspires me. My coursework at NCSU included a Woven Textile Design course. While taking this course, I was reminded of Native American weaving and I discovered a love for the art of hand weaving. The massive time contribution, not only for weaving the piece, but for the set up and dressing of the loom, is something to be admired. While weaving, the insertion and beat up of each individual pick gives an enormous amount of control over the aesthetic of the piece. The meditative repetition of hand weaving creates an end result that is more than a garment, it is an expression of the time spent and the heart of the designer, who has physically placed and manipulated each yarn for its individual purpose in the piece. The designs woven into Navajo blankets were most often stripes, diamonds, and other geometric patterns. In the pieces I have created, I have also used diamonds and stripes. The diamond pattern, similar to the medicine man’s eye meaning “wise”, is incorporated in both the dress and the shawl.

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The materials I have chosen to use include cotton/ metallic yarn, wool yarn, and feathers. These materials are similar to those used by the Navajo artists, but modernized slightly by the metallic filament yarn incorporated into the cotton yarn. I have chosen to use natural earth tones for the majority of the garments, accented with red wool. The shawl and the dress were hand woven on an AVL Loom using 320 warp ends threaded in a pointed twill configuration. I created the diamond pattern on the WeaveMaker program for the AVL Loom. For the dress, red filling yarn was woven with the diamond pattern for the bust and skirt areas. The midriff of the dress was woven using the Leno technique. The Leno weave creates open space in the garment by wrapping the warp yarns around each other and securing the twist with the filing yarns. The dress was woven in one piece on the loom, then seamed and corseted up the back. The warp ends were left hanging at the bottom of the dress to create movement as the wearer walks. For the shawl, a plaid effect was created and the red stripes were inserted for interest. Feathers were also inserted as filling during the weaving process. Each individual feather was placed in the shed on either side of the red stripe to soften the lines of the red stripe and to add a unique texture to the garment. The fringe used around the edges of the shawl was hand woven separately on a Macomber 4 harness loom, and then attached to the shawl. In creating these pieces, I am hoping to exhibit the beauty and wearability of hand woven garments and to show my admiration to all of the hand weavers of the past and present. References

"The More Things Change.... History of Navajo Rugs and Blankets." The Historic Cameron Trading Post. Cameron Trading Post, 2005. Web. 27 May 2012. .

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Rustic Luxury

Angelina Rich, Sponsored by Andrea Eklund

Central Washington University, USA

Keywords: Leather, Chiffon, Ceramic Studs, Cotton, Draping

The purpose of this garment was to create something that represented both art and fashion. In doing so I decided that the basis of my garment would consist of ceramic studs inspired from studded vases that I made during a ceramics class earlier in the year and recycled jewelry purchased from various second hand stores. After creating these studs and attaining copious amounts of jewelry, I chose fabric colors to compliment them all. Once I had the idea of the final garment I came up with the title, “Rustic Luxury” representing something edgy, couture, wearable, expensive, and unique.

I created my jacket using the flat patterning method based on the models measurements. The material consists of genuine Napa peach lamb leather that was custom ordered. I had to keep in mind that pinning would make holes in the leather so darts had to be used minimally. As I constructed this garment I soon learned that leather is easily stretched when being sewn without pins so I had to tape the garment together to prep it for sewing. For the undergarment I wanted to make a dress that was elegant and beautiful yet simple to contrast the hard-edged embellished jacket. I thought the purple-grey chiffon would be complimentary to the jacket. Flat patterning was used to create the dress.

Once the shell of this jacket was created, another design process began with the embellishments. When searching for embellishments for this garment I kept the leather color in mind and found gold jewelry that complement the peach color. When making the ceramic spikes, I started by sculpting the base diameter to approximately a half an inch and the height of three-fourths an inch. During this process I decided that it would be more aesthetically pleasing to strategically place different sized studs on different areas of the jacket so l began sculpting them in different sizes. Next, I hollowed

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the spikes out and drilled 3 holes at a downward slant, allowing the spikes to be sewn on the garment like buttons. The glazing process of these studs consisted of individually dipping each stud in a Shino glaze that I created. I then had to separately wipe off each stud so that they wouldn’t stick to the kiln during firing. After I dipped the studs in the glaze more glaze sank to the lower half of the stud creating a different chemical reaction in comparison to the thinner top half. This allowed the studs to be multicolored, having a creamy peachish color where the glaze was thicker, a shiny metallic pewter color where it was thinner, and hints of rusty peach throughout the whole spike. Prior to the studs going into the kiln I had to individually take a safety pin and re-hollow out the studs where glaze had covered the holes. Once I had a perfect assortment of jewelry along with the hand made studs I began hand and machine sewing the embellishments on assuring they were applied in an aesthetically pleasing way to the jacket’s design. Overall, I wanted this outfit to scream modern and expensive with an overwhelming sense of couture craftsmanship and elegance.

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Corporeal Extensions, Exercises in Paper Draping

Calli Roche, Colorado State University, USA

Keywords: Draping, patternmaking, paper, cubes.

Trained as a sculptress, the famed Mme. Grès approached multiple yardages of silk jersey like they were clay. For this endeavor, fabric was approached as a building material and my approach to draping was like that of an architect, using Wall Street and the metaphor of financial buildings as a burden and load on one’s back as inspiration.

The purpose of this garment was to expand upon the traditional patternmaking and draping techniques common to the industry through the use of innovative draping materials and methods. The methodology used is developed from the works of the innovative patternmaker, Shingo Sato and his method known as “Transformational Reconstruction” Sato’s approach to patternmaking is organic and intuitive while also being very precise and well thought out; it was this portion of Sato’s work that intrigued me and that I adopted and developed into my own process.

A basic shift dress was draped in muslin on a form. Then using a stiff brown wrapping paper, cubes and spikes of various shapes and sizes were created and adhered to the back of the dress. The difficulty in this part of the process lay in the purposeful cutting and shaping of the straight, 3D shapes to allow them to sit on a curvy, 3D body.

The paper protrusions and the garment were then labeled along each seam using an alpha-numeric code with numbers corresponding to the shapes and letters corresponding to each seam. The model was cut apart into 15 different pattern pieces, with eight of the pieces containing all that was necessary to reconstruct each three dimensional shape. The pattern pieces were transferred onto tag board and used to create the first two samples and the final garment.

Measurements: Bust: 34”, Waist: 26”, Hips: 37”

Sato, Shingo. (2012) TR Design Studio Retrieved from http://trpattern.com

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Racism Imbued

Calli Roche, Colorado State University, USA

Keywords: Communication, racism, spikes,

Like a knife cutting through the night air, words pierced to the very core of my being, more hurtful than any sticks and stones have ever been. The unfortunate ignorant student can have no idea the power his words, carelessly hurled out of a dorm room window had on a young first year student. If only it could be said that events like these were rare, or the worst case scenario, or better yet nonexistent.

Racial epithets have unique power as words, attacking the very essence of ones being, who you are, a fact you cannot change. And yet, when attempting to explain those experiences beyond the facts alone, the words fall inadequate when attempting to explain reactions and emotions.

It was at this point that a challenge was issued by a professor and mentor, to create an apparel embodiment of racism and personal experiences with racism as a means of catharsis and forgiveness. This dress acts as a three dimensional narrative, attempting to communicate an emotion and perspective on life that words fail to adequately capture, by engaging the rest of your senses.

The body of the dress was draped in red polyester satin. The cones on the shoulder where constructed out of six different types of black fabric and come in four different sizes. They are stuffed with batting and attached by hand to the dress body.

It is difficult for words to capture the surprise and disappointment felt when ignorance and hatred catch one off guard, and that all but forgotten chip on one’s shoulder, the pain from once upon a time, rears its ugly head and reminds one of the thorny world we live in. The garment seeks to induce reactions from the audience, emotions in the viewer that correlate to the recounting of events and the viewer’s own personal experiences.

Measurements: Bust: 34”, Waist: 26”, Hips: 37”

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! ! Honolulu, Hawaii 2012! Proceedings ! ! ! !

La Femme Parisienne

Feliz Salas, University of Hawai`i, Mānoa, USA

Keywords: couture, ruffles, corset

This garment showcases couture construction and modernization of time period dress, inspired by the European time period overlapping the Victorian and Edwardian eras.

The corset has a built-in bra, hand-made padded cups and underwire for full support. Two layers of adjustable twill tape cinching at the empire line and waist ensure proper fitting. Each seam is boned and accentuated by black braided cord trim, individually hand-sewn on the outside of the bodice. Ten corset panels alternate with design overlays, from delicate lace to sheer georgette, ruched from each side. A separate crinoline petticoat is worn under the dress for added volume. To mimic the soft look of petals, hundreds of cream, rose, and wine-colored pieces of sheer fabric were hand-cut individually into four-inch squares. These were attached to the skirt separately, ruched by hand before being placed diagonally and sewn one by one, creating multiple rows of ruffles covering the entire skirt and train. The edges of each square petal were left unfinished to encourage frayed edges, creating an ethereal yet more deconstructed look. The petals in the skirt illustrate an ombré effect, gradually changing colors.

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! ! Honolulu, Hawaii 2012! Proceedings ! ! ! Midnight Solstice

Feliz Salas, University of Hawai`i, Mānoa, USA

Keywords: sustainability, organic, natural

The purpose of this design is an environmentally friendly and organic garment based on zero-waste design requirements. Handmade natural dye techniques were used on hand-woven silk fabric provided by Japanese fiber artist Akihiko Izukura. Inspiration came from the fantasy of past mystical rituals performed at sundown, from time periods of old.

The original silk fabric came in a tube about 7 feet long and gray in color. To add pops of color, it was hand-dyed three times using acai berries, dirt, and lipstick tree berries. The tube shape was converted into a floor-length coat with a small train and a statement collar, playing with placement of volume and organic shapes through the use of pin tucks and horsehair braid. Copious amounts of pin tucks serve as a design element as well as to shape the garment and cinch it in to flatter a feminine figure without wasting any excess fabric. Horsehair braid was used to give the collar structured curves, which were strategically hand-draped onto the garment to create organic shapes. The entire collar was sewn onto the garment by hand. It plays well into the time-period inspired silhouette embodied by the puffy flowing sleeves and cinched waist, reminiscent of the middle ages.

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Honolulu, Hawaii 2012 Proceedings

Natural Textured Wooden Dress

Sherry Sanden Will, University of Minnesota College of Design, USA

Keywords: Design, Texture

For this non-traditional materials garment, the purpose was to create a garment that had a distinctive texture to it. The process began with the collection of non-traditional materials from a Minnesota woods including tall flame grass and other weeds, seed pods from black-eyed Susan flowers, branches and deer antlers. Experimentation was done to evaluate which material could be used to create an overall texture in a garment that was unique and interesting. The chosen material was dead tree branches that were sliced into quarter inch wood cross sections using a band saw.

Different methods were tried to adhere the wood to a muslin foundation. The first was the use of hot glue, but this created a very rigid result. Next 2 holes were drilled into each wood cross section and the wood sewn to the muslin. This was less rigid than the hot glue, but because each piece was attached at both top and bottom there was not movement. The wood was more decorative than an integral part of the design. The method finally decided upon was hand sewing each wood piece by one hole to the muslin foundation. This not only allowed for movement, but made it easy to overlap the wood like layers of fish scales. The effect was very textural and aesthetically pleasing.

This dress design shows the use of non-traditional biodegradable materials, namely wood, in creating visual and physical texture. The organic texture stands out in the simple silhouette of the dress. The scale like layers not only flow and move, but create a wooden clacking sound when Page 1 of 2

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worn. This design redefines the use of wood by reclaiming dead branches found in the woods. The wood is kept natural leaving on any bark and moss that it had when it was found. Each wood cross section varies from the next in its size, curved shape, color and smoothness. Emphasis in the design is drawn to the shoulders with the more jagged wood slices jutting out to add volume in an angular way. The fitted bodice and pencil skirt are layered with hundreds of wood slices forming a textured surface with organic curves like overlapping scales layered one on top of another. The open back has a curved S shape and is secured with sisal twine tied to a wood slice at each shoulder blade. The hemline goes to the knees and is cylindrical in shape. The only part of the dress not textured in wood is the front arched panel of the skirt. It is covered in a layer of pleated gauze made of 100% cotton creating a soft vertical linear texture in contrast to the hard circular wooden scales which predominate.

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Organized Chaos

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

Keywords: Felting, Chaos Theory, Knitting, Bead Work

Organized Chaos belongs to a series the designer has created to explore the chaotic process of felting. The purpose was to create a two piece ensemble that highlighted the structural possibilities of felting processes in truly “wearable” art.

This ensemble employs machine knitting, shibori felting, and hand beading. The process started with creating swatches of each technique using the chosen materials. Felting is chaotic in nature, thus dependent on the combination of fibers, heat, pressure and friction, which are often chaotic. The coat and dress were machine knitted on a manual machine. The collar and cuffs of the coat were felted through a resist method to prevent areas from felting then embellished with dangles of seed beads additional knitted yardage that was felted. The dress was machine knit from the neckline down, and then stitches were dropped along the hemline to create runs, like in stockings, upward. The runs were secured with dangles of seed beads.

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Honolulu, Hawaii 2012 Proceedings

Inconsistent Maze

Ji Hyun Song and Young Sun Yoo Kyung Hee University, Seoul, Korea

Keywords: Kistch, maze, rib knit

The creation of this garment was inspired by Stanley Kubrick’s movie “A Clock Work Orange”. In this movie, as a way to express rebellious youth, characters worn kitsch fashion; e.g., tops were donned on the bottom or inner wears were worn on the outside. The motive of this garment is to ‘unravel stereotypes’.

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Rib knit fabric has been normally utilized for sleeve bands or waistbands of sportswear. However this design artistically used rib knit fabric for special design details such as high exaggerated cowls and flared skirts. Through changes of style and cut lines, mixture of knit, leather and woven fabrics, and coexistence of multi-dimensional bulkiness and flatness, this garment is expected to express inconsistent maze in terms of clothing design and construction.

This design is a form of a coat with front opening. This garment was constructed using both flat patternmaking techniques on the top and draping on the bottom. The upper part is composed of double layers. On the top of the inside layer (coat), a vest with a circular shaped front opening was attached. The vest was made of knit and cotton fabrics. The sleeves are asymmetric between left and right sides, and even in each side, unique styles lines were articulated. Through double layers and unique cutting lines, mysterious high exaggerated cowls, I intended to show garment design a maze-like feature that could not see inside.

On the bottom of this design, combination of random pleats with rib knit fabrics, leathers (on the front) and knit fabrics (on the back) along with the intricate fluid silhouettes were intended to give impression of rich and curly silhouette.

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Honolulu, Hawaii 2012 Proceedings

Metallic Shibori in Rose Gold

Diane Sparks, Colorado State University, USA Kinor Jiang, Hong Kong Polytechnic University, China

Metallic Shibori, Pleating, Draping

The intent in this design endeavor was to create an evening gown using an art textile that had been exhibited on four continents (China, U.K., France and USA). In each of the exhibitions the textile was mounted horizontally as a five-meter long pleated metallic structure. For this design an additional intent was to drape and stitch the evening gown without cutting the art textile.

Surface Design Shibori Dyeing Process: In its original state the art textile was a bright silver structure composed of aluminum coated nylon in a plain weave. Several stages of surface design were required to create the metallic Shibori art textile: 1) the silver textile was folded into four layers; 2) then selected areas were tied or bound (Shibori) to preserve some of the silver in subsequent processes. When the Shibori tying was complete 3) the entire folded/tied textile was immersed in simmering soda ash to remove the aluminum coating on the exposed nylon warp and weft yarns. This process removed most but not all of the aluminum, leaving the majority of the textile surface structure semi- transparent with a slightly iridescent sheen. Removing the aluminum coating was necessary before the textile could receive dye. The next process 4) involved immersing areas of the folded/Shibori-tied textile into two dye baths of gold and rose/peach, and then immersing the entire textile briefly in the gold dye. After the folded and Shibori-tied textile was dyed, rinsed and dried 5) the ties were removed and the textile was pleated using heat and pressure to set the pleated structure.

The finished art textile has areas of bright silver in circular shapes resulting from the Shibori resist-dyeing process, set amidst an iridescent cream-gold-peach, gradation dyed background. Several attributes of the Shibori textile that had an impact on both aesthetics and strategies for garment assembly were: 1) the transparent quality of the textile made matching the lining color necessary, 2) because of transparency, regular opaque sewing thread also was visible on each seam line which led the designer to work with transparent monofilament thread, 3) the pleated Shibori textile was stretched when sewn with sewing machine, which led the designer to hand- stitch the long seams in skirt front and back, and 4) the Shibori textile needed to be anchored to the lining fabric around the midriff area of the bodice in order to shape the bodice close to the body.

Hand-Dyed Lining Process: Silk lining fabric was hand-dyed to blend with colors in outer fabric. Various combinations of antique gold, rose, and copper-colored dye powders were combined to create the blended color

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for the lining fabric. The challenge was to “split the difference” between the rose and gold hues in the gradation-dyed Shibori textile. Twenty lab dips were created and studied for color compatibility when placed under the Shibori art textile, before the final dye “recipe” was selected for the silk lining.

Draping Process: The dimensional instability or stretchiness of the Shibori textile dictated a structured lining onto which it could be attached. Thus a close-fitting, six-gore lining was draped, and constructed with boned bodice. The Shibori fabric was draped over the lining without cutting the fabric. Because the outer fabric was semi-transparent, seams were hand-sewn using monofilament thread while the garment was on the dress form. To shape the bodice, each pleat in the Shibori fabric was hand-stitched to the lining. Off the dress form, the hem was hand-rolled using wire inserted as the hem was stitched. A placket was created in center back for donning and doffing, and was closed using hooks and sturdy hand-knotted thread loops. The bodice of the lining has an additional lining to finish the interior of the dress, and cover all hand stitches between Shibori fabric and lining.

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Honolulu, Hawaii 2012 Proceedings

Sea Ice

Casey Stannard, Oregon State University, USA

Keywords: knitting, Chaos Theory, fiber art, sea ice

The purpose of this project was to create a garment utilizing the principles of Chaos Theory while incorporating fiber art techniques and inspiration from sea ice. The presence of sea ice is based on many different factors such as temperature of the sea, chemical composition, and salt content (Dieckmann & Hellmer, 2010). The formation of sea ice is a complex, chaotic process that should be understood by mankind. When considering chaos it is possible to utilize principles of Chaos Theory to understand that while chaos appears to be random but is actually ordered. According to Peak and Frame (1994) spectral analysis splits complex chaotic processes, such as light or sound, into smaller components and is one method for studying chaos.

It is difficult to determine what type of ice is present in aerial photos and scientists must examine the structure and composition of the ice when studying it. Spectral analysis can be applied to sea ice as a method for studying the various components and how they interact and change each other. There are many different features and types of sea ice. Grease ice occurs when the upper layer of salt water begins to freeze and starts to solidify (Dieckmann & Hellmer, 2010, p.34). The next step in the freezing process will result in the presence of more frozen forms called pancake ice. Pancake ice is solid chunks of ice which become circular as they repeatedly smash into each other (Dieckmann & Hellmer, 2010, p.34).

The coat dress serves as a visual representation of the inspiration taken from the chaos of sea ice. The blue lace is a representation of the sea. The majority of the body is made of a blue yarn which is knit in a lace stitch called crest of the wave. By working this stitch it is possible to create undulating waves which work across the fabric, the wave-like nature of the stitch is particularly visible in the sleeves which were left without grey trimming to further emphasize the inspiration of the sea.

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The grey portions of the coat dress represent grease ice. Sea ice forms closer to shorelines and then fingers out towards open waters. The wrapped collar with asymmetrical closures was used to represent the process of freezing that occurs as sea ice forms. The collar is knit with a stockinet stitch that is more solid in form than the sea stitches. This shows how ice begins to form around the edges of the sea. The ice splits off and wraps around the body, forming two finger-like extensions which represent how grease ice moves starting at the shallows and stretching out into deeper waters. The hem features two lines of grease ice which are knit with a cable stitch creating a circular pattern. This is the more mature grease ice which is starting to solidify into its next form, pancake ice. A section of blue lace is held between the grey cable knit trims because in nature there may be a deeper portion of water which remains liquid while surrounded by ice. Without spectral analysis it would be difficult to discern this separation of forms amidst the chaos of sea ice.

At the edges where the grease ice strips meet there are flat, white glass beads applied. These beads are the most solid part of the design and stand for pancake ice which is the solid, circular ice that forms from frozen grease ice. Beads were also applied at the ends of the grey fingers to emphasize how grease ice can form into pancake ice and to hide the snap closures needed for the garment.

This coat dress was hand knit by the designer. The process of creating it started with a sketch and multiple trial knitting swatches using the desired stitches. Once the designer discovered the proper gage for the knits it was possible to calculate and chart out the proper increases and decreases to make the design. The body of the coat dress was knitted and assembled first. The hem trims were knit separately. The first trim was attached to the hem of the body and a second portion of blue lace was cast on from the trim and knit down. The second trim was then seamed to this second lace portion. Next, the designer created the shawl collar using flat knit and seamed it to the neckline of the garment. Beads were added to the garments and snaps were included under the finger ends to keep the garment closed. The designer also assembled a pair of long earrings using the remaining pancake ice beads to enhance the overall look of the design.

Dieckmann, G. & Hellmer, H. (2010). The importance of sea ice: An overview. In D. Thomas and G. Dieckmann (Eds.), Sea Ice (pp. 1-22). New York, NY: Wiley-Blackwell.

Peak, D. & Frame, M. (1994). Chaos under control: The art and science of complexity. New York, NY: W. H. Freeman & Company.

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Jo Dean Tipton

This project was created for a studio class for my Masters Degree in Apparel Design.

I have always worked on women’s accessories and apparel in the past, and wanted to use my time to explore something new, meaning design, patternmaking, draping, and textiles that would please men.

This particular outfit was a joy because I had never made a pair of jeans before and the final product turned out nice.

Because I love the process of making a piece of clothing that involves surprises at every turn, the top became my obsession. It took many hours to work it out, and I want to thank Dr. Nam for supporting my creative process.

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! ! Honolulu, Hawaii 2012! Proceedings ! ! ! Gift of Nature

Anna Tomita, University of Hawaii at Manoa, USA

Keywords: Sustainability, seamless

This garment was made entirely out of natural materials found in nature. The purpose of this garment was to explore the world of sustainability through garment design and the concept of zero waste. The only fabric used was a hand woven, 100% raw silk that was tubular in shape and had no salvage. The original shape of the fabric was kept, and the garment was created by cutting away as little as possible. The fabric from hemming the dress was converted into the tie in the back. The end result was a garment made out entirely of organic materials, and only a small scrap of fabric going to waste. The tubular raw silk was dyed first with acai berry to further enhance the texture of the fabric. Then, the material was dyed again using lipstick berries. The berries were squeezed on top of the fabric to create the polka dotted effect. The dying process was conducted without the knowledge of possible outcomes. Some berries were a little fermented, while others were fresh off the tree. The fabric was then dried using only the heat of the sun. No chemical treatment was used on the garment’s surface. Originally, the neckline of the dress had the same circumference as the hem. 6 gathering stitches were implemented to create a flowering collar to frame the face. The shoulder opening with snaps allowed the front and back bodices to be seamless. The tie in the back is secured by buttonholes, along with more gathering stitches to extend the neckline gathers to the waistline. The only material used was 100% hand woven raw silk, along with a handful of acai and lipstick berries.

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Honolulu, Hawaii 2012 Proceedings

Film Noir Sarah Winford, Auburn University, USA Keywords: Design, Sustaibility, VHS Film

Our old ways of capturing entertainment are now piling up in attics, thrifts stores, trashcans and landfills. DVD’s replaced VHS’ in the early 2000s, which are now both being replaced by downloads. Many of us, myself included, no longer even own a VHS player; leaving our VHS collections to seem like somewhat of a hoarding trait. Well, since we no longer watch my favorite VHS movies, why not wear them? One of my all time favorite films, White Christmas uses hundreds of yards of film, various screws, metal parts and plastic pieces to create only a 120minute film. Once deconstructed, I found that the tape could be used to make a delicate fabric that creates a shimmer, similar to that of sequins. If the wrong side of the tape is woven together, the fabric takes on a leather- like appearance. The tape can also be crocheted or knitted into a fabric and/or used for embellishments. The various plastic parts and screws can be melted down, skewed, manipulated into an assortment of items. By using a creative eye and a bit of innovation, what was once a dusty, outdated VHS collection has now been transformed into this 1950’s Hollywood glamour inspired gown.

I began this process by deconstructing only 5 VHS tapes and their boxes. First, I created my fabrics out of the film strips with two different looms: starting with a 6ft by 8ft basic basket weave loom on the wall, following a 15ft by 8ftloom, with only vertical

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strips taped off in sections for the “fringe”. Then, I taped off the pattern pieces on the basket woven fabric, cut out the fabric pieces and then basted them to a stiff black satin fabric. The fringe was attached in a circular pattern, beginning at the bottom of the circular ruffle skirt, working my way upward. The dress was constructed in 4 separate parts, depending on the fabric type and then finalized.

In order to utilize as much of the VHS tapes as possible, I used a combination of draping and pattern making to construct the gown. Countless hours were spent creating the different fabrics, which were woven on two separate self-made looms and then taped off in the correct patterns and embellishments. Followed by, layering 21 circles of the VHS “fringe” to create the fringe-like texture of the circular ruffle skirt. Then, basket weaving the film tape was used to make the fabric for the upper skirt section and the bodice. The metal zipper was sewn into the center back seam with the lining hand sewn in.

Through trial error, I learned how to create four different textured fabrics with VHS tape film. All of which can also be accomplished in a smaller size by using the film of cassette tapes. After testing, I found that this fabric could be ironed, washed, on cold/delicate setting, and virtually any eight depending on what fabric is used for backing. Instead of producing more and more materials that eventually wind up in landfills, we can reduce our waste by creating something out of “nothing’. It is an everyday challenge, but we can all reduce our ecological footprint through the way we live, the products we buy, and the textiles we use.

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Honolulu, Hawaii 2012 Proceedings

Condom Couture

Lily Wolens, Cornell University, USA

Keywords: taboo, condom, delicacy, elegance

Society is teeming with taboos. There are so many topics that people feel uncomfortable talking about even though we all share the same experiences. “Condom Couture” confronts a major taboo: sex. You never see condoms out of the wrapper in polite society. An unwrapped and unrolled condom symbolizes something that is too intimate—a place that most people do not want to go in conversation or even to acknowledge. But why? “Condom Couture” is not about being vulgar; the point is not to shove condoms in someone’s face and make them shrivel with distress. The point is that many people struggle with finding the confidence to be comfortable with these taboo topics: sexual acts, sexual identity, masturbation, body changes, relationship struggles, shame, cravings, yearnings, need. So “Condom Couture” was a challenge to confront the topic of sex in a very delicate and elegant way; in no way vulgar – but that makes a subtle point that sex is beautiful and has a key place in society. I wanted to show that crossing and testing the boundaries of this taboo can be a pleasant experience.

The very idea of unloosing 500 condoms from their foil cages, unrolling them, and sewing them by hand onto a pretty, flowing garment to create a delicate and chaste appearance -- a virtual bouquet of dainty rosettes -- was very ironic indeed – erotic and exotic. I wanted people to walk up to the garment, admire it, touch it, and covet it for its beauty, delicacy and purity. I then wanted to see their reaction when they realized that all the beautiful roses cascading over the bodice were made out of condoms. The purpose of making this garment was to explore the concept of illusion, with the goal of encouraging people to perhaps expand their comfort zones through art. In the end I hoped to change my viewers’ perspectives on taboos. It wasn’t the idea that they were touching condoms that made people uncomfortable, but the fact that they were touching and admiring condoms in public in front of their peers. They thought that the act of admiring it would indicate that they were used to touching condoms, i.e. using condoms, i.e. embracing condoms as a useful staple of life. Some of my peers who saw me construct the garment admired the beauty of it – until they realized that the flowers on the dress were condoms; their expansive views, pardon the pun, then shriveled. I wanted to use design to express this idea of challenging taboos because to me art is the creator of change and perception: it allows people to see things in new ways without realizing it.

Constructing the garment was a very organic process. I first designed the basic silhouette of the Page 1 of 3

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garment and draped it on a mannequin. I attached the ribbons on the skirt so they would flow nicely over the hips. Since the point of the piece was not just a beautiful garment, but also creating a particular message, the detailing and placement of the condoms needed to be the main focus of the design. I used muslin as the foundation fabric for the garment as I needed a very sturdy fabric that could support the weight of the condoms. I carefully hand sewed all of the condoms onto the bodice and strategic parts of the skirt. It was very important to me to use unlubricated condoms so that the garment wasn’t sticky and glossy looking. I felt that the oily texture would not express the delicacy I desired, and it would also more easily reveal the condom’s true identity. I was initially going to make a one-piece dress but decided to make a two-piece garment because I felt it was important to show the wearer’s skin between the pieces – thus revealing the sensuality beneath the concept and accentuating the boundaries of the taboo. My biggest challenge was sewing the condoms on in a way that would disguise them. I didn’t want anyone to be initially repelled by the garment – which could have happened if I had sewn the condoms on sparingly or had they been stretched out – so instead I flooded the garment with scrunched condoms that resembled delicate flowers made of a tenderly soft, pastel-colored material.

I used ribbons and tulle in the garment to complement the condoms as well as add contrast to the textures of the overall piece. The tulle and ribbon add to the delicate feel of the piece, a delicacy that is balanced by the raciness of the fully exposed, naked back of the wearer of the garment.

When I completed the garment, I felt that I had been very successful as most people who viewed the piece couldn’t tell it was made of condoms; furthermore, when I told them what the floral decoration of the garment was made of, most people didn’t believe me. I had to point out the rolled latex rim of the condoms, which can only be seen when close to the garment.

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Our Dark Shadow

Lily Wolens, Cornell University, USA

Keywords: Design, Self-expression

I constantly hear people talking about their “dark side”—the part of themselves that is deep and scary and wants to be released but must at all costs be controlled so the dark side does not take over the whole. People are very scared to feel out of control; we constantly want to feel in control of ourselves, of our thoughts, and our feelings. But while we obsess about remaining in control, we forget that sometimes letting go is exactly what we need. Sometimes in letting go we are able to discover our true ambitions, feelings, and deep-seated hopes, which we may gloss over or ignore. “Our Dark Shadow” is about a woman finding her dark side and letting it roam free. This piece symbolizes what it truly means to be free and what it means to discover oneself and put it out there —something we all dream of doing. To truly discover ourselves we must discover all of ourselves…. Including our dark side.

This piece explores the dark. I wanted people to look at this piece and feel as if the frothy darkness of it was a giant wave, growing with power and energy. But, just as importantly, I wanted them to feel that the darkness was controlled and dictated by the wearer. There are 70 yards of tulle in the garment, which I amassed and shaped by tacking it in strategic places. The effect I sought was to take something wild and out of control and show in a dramatic way that was still in check—a taming of 70 yards of gauzy, ink-black fabric. The garment expresses a paradoxical sense of the untamed tamed, the uncontrollable controlled. I wanted the wearer of this garment to feel strong and dangerous, but also impressive and in control.

The garment consists of a tight-fitted, lined jacket and very short shorts. I lined the jacket with a stiff canvas interfacing to give it the structure and stability needed to carry the tulle, which I attached to the jacket’s edges. I had difficulty attaching the six layers of 108”- wide gathered tulle onto the jacket because there was so much fabric to deal with, making the seams extremely bulky. Once the tulle was attached to the jacket I trimmed it in front. To obtain interesting detail on the jacket, I twisted and folded the tulle along the center front, then hand-sewed it to create a dense, textured edge. Instead of trimming the tulle in the back, I tacked it down carefully to create a dramatic silhouette with a lot of volume. Page 1 of 3

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I worked on the garment in an iterative process with my model. Instead of deciding in advance how the garment should look, I had the model try on the garment so that I could see how the fabric behaved, moved, looked, and acted. It was very important to me to not fight the fabric but instead work with it. I loved how the fabric was sheer and how I could manipulate the opacity with layers. To me this symbolized how people have so many layers and how everyone shows different parts of who we are – typically not all at once. The layering and opacity of the tulle symbolized the complexity of the human psyche and enabled the woman wearing it to show and explore her dark side.

It was really an exciting and magical moment when I first saw the model walk in the garment when it was finally completed—I even videotaped it. It wasn’t until that moment that I really knew what the garment was about. There was a sense of fright and madness as the dark, frothy enormity stretched out around the model; but the very defined, structured silhouette showed that it was tamed and controlled.

I named the piece “Our Dark Shadow” because I feel like our dark side is our shadow that is always there; it follows us around; it lurks, awaiting our confrontation with it.

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Brushstrokes in Red

Eunyoung Yang, Meredith College, Raleigh, North Carolina USA

Key words: Surface design, silk ribbon, embroidery stitches, Vincent Van Gogh

“The cypresses are always occupying my thoughts; I should like to make something of them like the canvases of the sunflowers, because it astonishes me that they have not yet been done as I see them. It is as beautiful of line and proportion as an Egyptian obelisk.” (Charles, 2011, p. 146). In a letter to his brother, Theo, Vincent Van Gogh (1853-1890) describes cypress trees that grew in the region where they lived. Van Gogh found cypress tress to be a captivating and challenging subject for his paintings. Van Gogh's initial fascination with cypresses resulted in many paintings such as Cypresses, Wheat Field with Cypresses, and the well-known Starry Night which was painted in 1889 after Van Gogh voluntarily entered the asylum at nearby Saint- Remy. Van Gogh used color and vibrant swirling brush strokes to convey his feelings and his state of mind. Designers have continuously searched for new inspirational sources to stimulate their creativity. Inspiration has come from the prevailing styles of a specific time, different cultures, and movement in art and theater. The purpose of this project was to demonstrate the visual connection between artistry and the interpretation of renowned artwork translated into expressions of fashion design.

The design of the fiery red dress was inspired by Van Gogh’s paintings of cypresses filling the skyline like flames. The asymmetrical, one-shoulder silhouette also reflects the fiery shape of the cypresses. Modified princess panels were draped in order to accommodate the angle of the swirls. The main objective of this project was to incorporate Van Gogh’s unique artistic interpretation of nature to surface design element. To portray swirling, broken brushstrokes, silk ribbons were used. Four different shades of red silk ribbons were purchased. However, to achieve gradual and various shades of red, the ribbons were individually dyed.

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Patterns pieces were traced on polyester organza blocks and mounted to a customized embroidery frame. Lines for swirl movement were designed and marked with basting stitches on the organza. The silk ribbons were applied with free-hand satin stitches and continuous straight, back, and split stitches to express the brush strokes of Van Gogh’s paintings. After the embroidery of each panel, the panels were cut and assembled using an invisible zipper closure and lining.

Reference Charles, V. (2011). Best of: Vincent van Gogh. New York, NY: Parkstone International

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Circles

Yang Yu, Dr. Barbara Trout, University of Nebraska-Lincoln, USA

Key words: Design, circles, envelop

The purpose for designing the Circles is to convey the idea of body envelop by developing an alternative way of constructing garment. Inspired by the design philosophy of Yeohlee Teng, shape of each pattern piece is not formed by draped muslin but pre-decided into certain geometry shape despite of fitting. I cut all the patterns into identical half circles, and developed the whole garment based on the half circles without cutting each piece. The design problem was to drape a semi-fitted garment by only circles, and at the same time, establishing an exciting and focused design aesthetic. In the draping process, each circle was placed and folded according to curves of body. Later color-blocking was introduced in order to differentiate every circle pieces and create design excitement, making the look of each circle more visible and vibrant. In term of material, cotton twill was used for its stiffness. The stiffness allows each circle piece to stick out, so the curved edges could be clear and standing-out and the design concept is emphasized.

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