PEELING GARMENTS Flat garment construction between fabric layers using the printing process as a construction method and the reference of a peeling wallpaper to create expressive dress

Author: Monika Colja

Master of Fine Arts with Specialisation in Fashion Design

Report Number: 2020.6.08

Supervisor: Holly McQuillan

Opponent: Ute Ploier

Examiner: Clemens Thornquist

May 2020 The past two years have been so much more than I could ever imagine. I have learnt, grown and made great friends.

I would like to thank my amazing supervisor Holly McQuil- lan, without whose support and knowledge my work would not be the same. And all the other lecturers and staff (especially the print technicians, Sara and Emilia) for all the help. It has been a pleasure being here, working alongside everyone.

I am most grateful for our class, the amazing people and creatives: the community we built to support each other and share everything has felt like a family. The times we had together I will treasure dearly.

And lastly, to my family and friends, for always supporting me in my decisions, before I even take them. For believing in me and cheering me on. OVERVIEW / LINEUP PEELING GARMENTS MONIKA COLJA LOOK 1 PEELING GARMENTS MONIKA COLJA LOOK 2 PEELING GARMENTS MONIKA COLJA LOOK 3 PEELING GARMENTS MONIKA COLJA LOOK 4 PEELING GARMENTS MONIKA COLJA LOOK 5 PEELING GARMENTS MONIKA COLJA LOOK 6 PEELING GARMENTS MONIKA COLJA LOOK 7 PEELING GARMENTS MONIKA COLJA keywords:

fashion design, print in fashion, flat garment construction, screen-printing, layering, simultaneous design ABSTRACT

This work is a proposal for an alternative approach to working with print, making the printing process a key element within designing. It is an investigation into flat garment construction between fabric layers, as this enables for the printing to be used in place of sewing. Additionally, working with multiple textile layers connects with the reference of the peeling wallpaper, which is used as a base for ma- terial and form developments.

The aim of the work is to develop a more holistic approach and new expressions in garment-making in relation to the application of printing processes within textile layers. The main objective is to present a new perspective of the relationship between garment pat- tern and print, bringing the later forward. Not only does the surface print, through the interaction of colour and texture provide an im- portant element in terms of creating expression, but it additionally acts as a construction element. Moreover, by using the process of printing to create form the element of print becomes integrated into the process of garment-making. TABLE OF CONTENTS

INTRODUCTION TO THE FIELD

BACKGROUND 26 Meaning of Print Within Fashion 26 Prints, Decoration and Wallpapers 26 Form and Flatness 29 Simultaneous Design: Textile (Print, Colour, Surface) and Form 30

STATE OF THE ART 32 New Expressions: Print vs. Form 32 Flat Garment Construction 33 Expressions and Aesthetics in Print Design 34

MOTIVE 38

DESIGN PROGRAMME 40

Design Project I 41 Design Project II 42 Design Project III 44

AIM 46

METHOD 49 Learning by doing, knowing by making 49 Textile thinking 49 Ways of working 50 Form Building 52 Print Assembly 54 DEVELOPMENT 60 Materials and Colours 62 The White Dress 66 Peeling Trousers 75 The Framed Jacket 85 The Constructed Line Blazer 95 The Green Dress 103 The Line Trousers 113 The Blue Line Layered Blazer 119 The Peeling Trench-Coat 127 Lineup Development 136

RESULT 138

DISCUSSION AND REFLECTION 168

REFERENCES 170

24 MONIKA COLJA PEELING GARMENTS

The fascination with peeling wallpaper has been with me for quite some years now and it seems like it always creeps back to find a way into my work. I see it as this exciting mystery of not knowing what hides under, having no control over it. This expression of many different times and peo- ple, coming together to be something else, something that is out of our hands, not made by intention and thought. I think that is beautiful and it its complexity reminds me of people: same mystery, shedding many layers over time.

25 INTRODUCTION TO THE FIELD BACKGROUND

Meaning of Print within Fashion Design

Conventionally, in fashion print has mostly been used as a decorative surface – in the initial design process, it usually comes second to the form. Even though it can be argued that “[d]ecoration is a purpose in itself” (Fogg, 2006), prints often have lesser importance in the process of a garment’s development. Many designers buy existing prints from fabric factories, providing further evidence for this hierarchy. Brands that work extensively with the aesthetics of print, for example, Marni, Dries Van Noten etc. rely on the creation of “harmony between colour and shape” (Fogg, 2006), where it can be argued that the print is still used in a decorative role. Compared to other technol- ogies like weaving and knitting, print usually has a more decorative nature, mostly dealing with the pattern, colour and surface texture, but little with the actual material. Of course, the nature of 26 weave and knit is that of producing cloth, wherein print, a preexistent textile surface is needed for the printing to be carried out and the pattern to be applied. However, one could imagine a way to use print in a more functional role, proposing a new perspective on using printing by actually building the garment’s shape. With this in mind, how could we design a garment’s shape for it to be assembled through the act of (screen-)printing and what impact might this way of thinking and designing have?

Prints, Decoration and Wallpapers

The ornamental purpose of print should not be dismissed. Brett talks about decoration as “certain aspects of things mainly pertaining to pleasure - to what Kant described as ‘enlivening the object for sensation’ and ‘the sole function which is to be looked at’” (Brett, 2005, p. 4).

The tendency to decorate extends past just clothes; it is strongly present in interior design and oth- er fields. For example, wallpapers have been widely used since the 16th century to decorate walls. Nevertheless, the history of wallpaper is much more than that of ornamental design - it is also a fascinating record of human lives and preferences (V&A). It is layers of time and different personal- ities being stacked on top of each other, creating a new expression as the layers start peeling off. “That is the fate of most wallpapers – they are a transient item of décor. They stain, crease, become mouldy and above all go out of fashion.” (Watson, 2018). INTRODUCTION TO THE FIELD MONIKA COLJA PEELING GARMENTS

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Figure 1: Nicky Samuels wearing an Ossie Clark/Celia Birtwell design, 1971 The relationship between wallpapers and fashion has existed since their conception in the 16th century. Initially, wallpapers often imitated various embroideries from both garments and other textiles, with floral pattern design often being most popular. Furthermore, designers such as Celia Birtwell (Figure 1) and Christian Lacroix have been known for working with fashion, print and interior design, resulting in printed floral designs on garments often inspiring furnishing fabrics and wall- paper and vice versa. Similarly, William Morris’ famous wallpaper designs have often been used or inspired fashion design (for example Prada Fall 2002 collection, Valentino Couture Fall 2012, Joe Richards Spring 2016 or most recently a collaboration by H&M, to name a few).

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Figure 2, 3: Self-portraits by Francesca Woodman

In a series of self-portraits from 1975 to 1976 by American artist and photographer Francesca Woodman, the motif of peeling wallpaper is investigated in relation to the body. It could be inter- preted as the author bearing her soul, revealing herself to the viewer (Figure 2 and 3). The place- ment of the torn pieces on the body suggests a connection to clothing. What if the idea of a peeling garment would be used to achieve new expressive qualities in printed fashion design?

Perhaps the wallpaper and its flatness (a reference to a flat wall) give an insight into how the gar- ments should be designed, for them to be assembled on a flat table through the technique of screen-print. BACKGROUND FIELD THE TO INTRODUCTION MONIKA COLJA PEELING GARMENTS Form and Flatness

There is no garment without form. There are known garment shapes that have been connected to specific words, for example, a top, a pair of trousers and are as such deeply established within fashion design. Form articulation happens through various traditional garment-making techniques: modelling and draping on the mannequin, drafting flat pattern blocks or using computer modelling software (Townsend, Goulding, 2011).

One of the essential aspects of garment construction is the relation between 2D and 3D. Through history, garment’s form has developed to become sophisti- cated, but before that, clothing had a simpler shape and often looked more two-dimensional. For exam- ple, in Ancient Greece, a garment was just a rectangu- lar textile draped around the body, with minimal cut- ting or sewing, secured with a pin. Another example is a kaftan from the Ottoman Empire. Already a more sophisticated form with sewing involved; worn as a coat, but when not on a body, the garment lies com- 29 pletely flat (figure 4).

Figure 4: Kaftan, Turkish, 1550-1600 (V&A)

Margiela, a fashion innovator, often working with de- construction and playing with proportions, presented his ‘flat collection’ in 1998. Within this collection, he explored the 2D to 3D aspect, specifically “how to make two-dimensional garments that would lie per- fectly flat when not on a three-dimensional body.” (Borrelli-Persson in Vogue, 1997). With the plastic shopping bag and pattern blocks as the inspiration, the garments were presented hanging flat on hangers, with men in white coats acting as models, carrying the garments. Garment forms have been masterfully flattened, with armholes being pushed to the front or extra pattern pieces developed in cases of flattening from the side.

Figure 5: Margiela Fall 1998 Simultaneous Design: Textile (Print, Colour, Surface) and Form

Sonia Delaunay, a Ukrainian artist, was one of the first to approach the process of garment-making in a more thought-through fashion in relation to both the form and colour. Delaunay’s interest was not in the garment’s shape as much as the simultaneous making (Albritton, 2005). In Delaunay’s words, “the cut of the dress is conceived by its creator simultaneously with its decoration. Then the cut and the decoration suitable to the shape are both printed on the same fabric” (Townsend, 2011, p. 308-309). Her work presents an alternative, a closer way of working with both the form and the textile, the first step for many fashion designers after Delaunay.

Suggestions on working with form and textile surface (specifically print) in a more holistic way have also been explored by Katherine Townsend, who has looked at the relationship between body, textile and garment’s form thoroughly. Her practice is widely inspired by Delaunay. She states that “[w]hile digital technology has opened up the possibilities for integrating body, cloth and print more expediently, Delaunay’s practice illustrates that it is the aesthetic sensibility of the designer that is paramount” (Townsend, 2008, p. 3).

In her paper, The Interaction of Two and Three Dimensional Design in Textiles and Fashion, Townsend 30 writes that textile and fashion design are mutually dependent and “when considering one it is dif- ficult to ignore the other” (Townsend, Goulding, 2011). According to the authors, there are three approaches to working with textiles and garments: ‘textile-led’, ‘garment-led’ and ‘simultaneous’ (Townsend, Goulding, 2011).

Figure 4: Diagram of body, textile and garment (Goulding, 2011) BACKGROUND FIELD THE TO INTRODUCTION MONIKA COLJA PEELING GARMENTS

The textile-led approach encompasses garments, designed accordingly to the textile. This means that the textile comes before the garment’s shape and the other is designed with the textile’s prop- erties in mind, which is common with designers like Zandra Rhodes, Jonathan Saunders and Dries Van Noten (Townsend, Goulding, 2011).

In contrast, the garment-led approach is used to refer to designs, where the garment’s shape has been designed prior to any knowledge of the textile. Surface design is usually added later, to en- hance and complement the form. The focus here is the garment’s construction, with examples of designers like Balenciaga, Charles James and other old-world couturiers (Townsend, Goulding, 2011).

In comparison, the simultaneous de- sign approach, inspired by the prac- tice of Delaunay, deals with both the garment’s form and surface (textile) at the same time. As such, the two aspects are mutually dependent on each other and have to be developed 31 alongside. For example, the develop- ment of technology has allowed for the development of engineered dig- ital print, designed within the form’s constraint (Fogg, 2006). Designers Figure 5, 6: Peter Pilotto Resort 2015: Print is engineered for like Mary Katrantzou and Peter Pilotto each individual garment are known for their mastery of work- ing with digital engineered prints. “It is about trying to do with print, what a black dress does,” Katrantzou says about her way of working (Katrantzou in Muller, 2012). Digital technology al- lows for the print to take on a more significant role within the garment’s design process. However, the connec- tion between print(ing) and garment’s form remains that of one informing the other. Figure 7, 8: Mary Katrantzou Fall 2018 STATE OF THE ART

New Expressions: Print in Relation to Form

Many contemporary research-based projects focus on form and material informing each other, proposing new ways of working with the two areas. However, this could be taken further, with the process of printing becoming a vital part of the garment’s shape and construction.

In her collection Scattered Print, Gathered Form, Camilla Arnbert explores print by deconstructing the motif in relation to the form (Arnbert, 2017). The scattered motif is reconstructed, and thus the garment is given its silhouette. The designer presents new possibilities in the application of print to the garment and explores its expressional abilities, further widening the field. The graphic and the silhouette are mutually affected. However, the focus is put on the printed motifs and how they act as informing and constructing factors of the garment. Here, the emphasis is on the draping and not as much on the construction in terms of traditional pattern blocks. Arnbert herself explains that her work “does not imply that form comes secondary” (Arnbert, 2017, p. 24), but it is a suggestion on 32 how the two usually not connected fields can be intertwined in a new relationship. Arnbert’s work presents a foundation that can be built upon, an alternative way to think about the relationship between the garment and the print. Using print as an essential factor that affects the form and not as just a decorative surface, however, this connection is one of information. The designer states that more suggestions on how print could be used in a way where it defines the final form could be found, which is something that this degree work aims to do.

Figure 9, 10: ‘Scattered Print, Gathered Form’, MA degree work by Camilla Arnbert, example of a final result and the ‘blueprint’ for the garment, to show how the print motif is applied to influence the form STATE OF THE ART THE OF STATE FIELD THE TO INTRODUCTION MONIKA COLJA PEELING GARMENTS Flat Garment Construction

To consider garments to be assembled by screen-printing, their construction has to be limited to the constraints of a printing table. This means the garment’s form has to be flattened.

Since Margiela’s flat collection other brands have explored the idea of two-dimensional garments, one of the more known is a fall collection from Comme des Garçons, shown in 2012. The usu- al tridimensionality of a garment is reduced to achieve the flat look. This is done through the cut and moving of the seams on the outside to flat- ten layers of fabric together. Of course, as soon as the body enters, a garment cannot be two-di- mensional anymore. Figure 12, 13: Comme des Garçons fall 2012

Holly McQuillan’s research into zero waste design by using weaving as the lens to approach and propose new possibilities in the way garments are 33 produced, results in a new pattern-making theo- ry. McQuillan’s practice falls within simultaneous design, while the PhD researcher also uses the term ‘Textile-Form Design’1 to define her work. The active experimentation focuses on re-think- ing the 3D garment shape and its construction pattern for it to be able to fit into the 2D weave Figure 14: McQuillan’s flattened & woven flattened & woven 14: McQuillan’s Figure archetypes (McQuillan, 2019). Due to its nature, the option of creating space between layers exists in this technique, offering new possibilities of stacking “[p]attern pieces into the textile’s layers, woven so that when cut and separated, can create a shaped 2D pattern from a rectangular 2D textile” (McQuillan, 2019, p. 8). The nature of a layered textile offers up new possibilities of how we are working with pattern cutting. The garment’s form and in turn, its construction, have to be recon- sidered into this ‘limitation’ of flattening the form between textile layers.

1 Holly McQuillan, Research seminar Zero Waste Sys- tems Thinking, 28th of January 2020 RCA MA graduate Andrew Bell has worked with flat construction by cutting his pieces from the side profile. As such, they can fold completely flat. His womenswear collection and research titled Collapsing Traditional Structures of Womenswear Tailoring is an in- vestigation into future tailoring. As he explains it, “[t]he common connective that runs through my work is the absence of the thread and the needle, in the construction of the pieces. Us- ing sonic welding technology, I have aimed to engineer a future tailoring aesthetic” (Bell in

Davey, 2019). Another distinction of his work (Bell, 2018) 15: Flattened blazer (process) Figure

is the removal of all other construction ele- - ments, such as interlinings, paddings, etc.

34 While these examples have no connection to the field of print, one could imagine possibili- ties if the idea of flatness would be investigat- ed in relation to printing. As previously stated, to allow a full assembly of a garment through the screen-printing technique, its construc- tion needs to be considered to the constraints of tools available. Since printing takes plac- es on a flat table and uses flat screens, the

construction technique used by Bell or the 16: When worn, Figure the garments lose their twodi Bell (Photo?, 2018) by Andrew mensionality; trousers method of flattening garment forms used by McQuillan presents the base for this degree work. At the same time, flatness is also pres- ent in the idea of wallpaper and layering. The combination of these aspects with the act of printing would present a novel suggestion within the field. STATE OF THE ART THE OF STATE FIELD THE TO INTRODUCTION MONIKA COLJA PEELING GARMENTS Expressions and Aesthetics in Print Design

Dries Van Noten and Richard Quinn are two designers known for their work with the printed fashion design. Both are hav- ing a textile-led approach, meaning their work often begins with the material, with the form being developed to complement the fabric. Often using layering of different motifs, patterns and textures, both of their collections often look at florals and have an aesthetic resembling that of interior de- Figure 17 + 18: Dries Van Noten SS18 sign, especially upholstery and wallpaper prints.

The expression and aesthetics of both de- signers are an important reference for this 35 research, in relation to how the different printed patterns are worked with. Different sizes, motifs and colour combinations are what is of interest. Similarly, the reference of using, for example, wallpaper prints for Figure 19 + 20: Dries Van Noten SS19 motif and pattern development is what is done within this degree work as well.

Figure 21 + 22: Richard Quinn’s FW18 collection pre- sented at LFW, references to wallpaper prints can be seen in the runway’s set up as well An exciting project in terms of the printing technique is one by Henriette Tilanus. In her MA grad- uate collection Paper Prints from 2016, the designer herself developed a way to print paper on textile. The designer was inspired by wallpaper prints (Tilanus in Noël, 2016) and successfully con- veyed that not just in the pattern motifs, but in the expression of the surface as well. Moreover, the textile has been completely self-made with different layers of paper and other materials (Tilanus in Noël, 2016), creating a strong expression in terms of material. It has common points with Peeling Garments within fusing materials together to create new possibilities in material expression and texture. However, here the emphasis is on the decorative novelty and less its function.

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Figure 23: ‘Paper Prints’ (Tilanus, 2016) STATE OF THE ART THE OF STATE FIELD THE TO INTRODUCTION MONIKA COLJA PEELING GARMENTS Comparison

The State of the Art chapter presents different examples that might be unrelated, but their aspects together form a base for this work. Firstly, Arnbert’s work suggests an alternative for the field of printed fashion design, which is also what Peeling Garments aims to do. The difference is in how that is done: Arnbert focuses on the printed motif as a factor that guides the garment’s form, meaning her work deals with print taking on a role of informing the garment. In contrast, within this degree work, it is the act of printing itself the factor worked on simultaneously as the form. Mean- ing the bond is not of only informing, but building the form. Specifically, this is done through the approach of flat garment construction, building on the developments made by McQuillan and Bell, to define and flatten the form. This is where the idea of a fused textile by Tilanus comes in, but is in comparison not used purely for decoration. The fusing is extended out of the textural approach and developed as the method of assembly, as a result creating two expressions, with one of them being similar to Tilanus, but explored in different printing techniques and material. The other, used as the actual assembly technique, shows clearly the process behind the work and differentiates it from Tilanus’ Paper Prints. In comparison, Van Noten and Quinn are not as focused on the texture of the print. However, it is the way the two designers work with layering and combining different prints that will be researched further as a way of how the different motifs, sizes and colour variations can be used to create an expressive collection. 37 MOTIVE

Why printing?

In general, the main issue is the purpose of the print within the field. As described, it is most com- monly used as a decoration and as such, lacks more purpose. In the process of designing, it usu- ally comes as last. Even when fabrics are pre-bought, and the print is known before the garment’s form, there is little to no connection between the two aspects. What if the process of printing could be used more functionally? What if through screen-print, one could assemble garment’s form? This perspective would present a way of designing, where printing would take on an integral role within a garment’s design process.

Within the described research in the field of print, specifically, that of the relationship between the printed surface and the form, new closer, symbiotic connections have been established. So there are new proposals for the field of print within fashion design. However, most are about informing and bringing the two aspects closer together. A step further is taken in Arnbert’s project, where 38 the print motif becomes the one informing the clothing’s form, but even in this case, the relation between the two fields is that of information. Moreover, garments are still assembled in the usual fashion, through cut and sew. In her thesis, Arnbert speculates “[i]f one would be able to find a method for using print in such a way that it is crucial in defining the final form, a completely new way of constructing garments could be found” (Arnbert, 2017, p. 28).

The proposal of the project Peeling Garments is that of using printing in place of sewing. It is about creating a physical connection between the fabric layers, with the application of print in place of seams and other construction elements. As such, it proposes an entirely new relationship between print (printing) and garment’s form: bringing the act of printing into the design process of the form and its construction and assembly. The project looks to find an alternative way of producing, one that allows for the process of printing to become an integral part within the process of designing and making and secondly, to use print as a function, and not just decoration. The interest within Peeling Garments is to utilise the processes in printing and find a functional application. Decoration is not excluded, but of slightly lesser importance. Nevertheless, even within the decoration aspect, the project questions the usage of print to create surface decoration. It looks towards creating a textured surface, a new expression achieved through self-made fused fabrics combination and the use of devoré printing technique. MOTIVE FIELD THE TO INTRODUCTION MONIKA COLJA PEELING GARMENTS

Figure 24: A diagram of body, form and print interrelations within the project ‘Peeling Garments’ (adapted by the author from Goulding, 2010)

There is a clear divide in the State of the Art chapter, one part dealing with flat garment construction and another with print (and its relationship with the form). The different examples are there to ex- plain and potentiate the project Peeling Garments. At its core, it is about using the printing process 39 in a functional way, proposing a new view on printing and utilising it within the design and assembly processes. The functionality of the print is the meeting point between the garment’s form created within the layers and the print itself, as it is about creating physical connections between layers. For that to happen, the use and development of flat garment construction have been integrated within the project. Since printing takes place on a flat printing table, using flat garment construction between fabric layers was a natural choice for the project’s development. Re-thinking of garments within the flat 2D surface constraints allows for the printing to take its place within the assembly process.

Where one could argue that this way of assembling garments is unnecessary, the suggestion opens up new ways of approaching (simultaneous) design and questions the role of printing. Moreover, it presents a new way of thinking by taking an existent technique and putting it in a new context. Thornquist presents an idea of material investigations, where the focus in designing shifts from the form to material instead, which in his words “demonstrate the wide field of possibility for divergent thinking”1. The material could also be a tool, a technique hacked to be used in a non-conventional way. This perspective is present within the project. From self-fused textured printing samples to constructing garments through screen-print, the core idea of assembling garments by fusing layers could be researched further, to potentially find a new way of producing.

1 Clemens Thornquist, Design Seminar ‘Material Explorations’, 15th of October 2019 DESIGN PROGRAMME

The broader focus of the work is to create in the gap between fashion and textile design, working within a hybrid practice, focusing on bringing form and colour (print) closer together, exploring the different possibilities that can be imagined and created in the ‘missing’ space. The design pro- gramme deals with exploring and setting up new relationships between form and material, in terms of both functionality and expression. Specifically, the work focuses on finding an alternative way of producing that allows for the process of printing to become an integral part of the process of

designing and making.

The projects building up the design programme are described on the following pages. Together, they outline the possibilities of the programme and lead to the current aim of the work.

40 DESIGN PROGRAMME DESIGN MONIKA COLJA PEELING GARMENTS

Design Project I: Self-fused Printed Layered Textiles

The development within this project serves as a starting point for all future explorations. The focus of the experiments was to find the right combination for doing the burn-out print on fused fabrics (a combination of a transparent layer with an opaque, thicker layer), with the importance of layering, transparency and exploring colour combinations to analyze the effects. The main motive was to work with print in order to create more depth and dimension in the flat surface.

The fusing of the layers was done by using CB21, a product that is usually used for coating (finish- ing processes), as well as foil and flock printing, where it is used to secure the foil layer or velvet fibres on top of the textile surface. CB21 can be used with a screen to achieve a clearly defined pattern. Following that logic, tests were made to see if the CB21 could also work in securing an- other textile layer on top. After successful merging (but only in areas that were meant to stay in place), burn-out printing paste was applied in the opposite, inverted areas. The project was at this point purely about the aesthetics and creating expressive surfaces, but serves as a base for further explorations on how this way of printing can be used in a more applied context, looking at the idea of adding (merging) layers and taking them away. 41

Figure 25 - 32: Developments done in “Printing, Dyeing and Finishing”, part of the technical elective courses Design Project II: Printing, Not Sew- ing

The following project focused on utilis- ing previously found technique of adding and subtracting textile layers and applying those aspects to garments. From the begin- ning, the focus was mostly put on the sur- face and creating interaction between the

two layers by displacing the top one (figure 35). However, as the project developed, the aim had shifted towards utilising printing in a more functional way, trying to use it within the garment’s construction and finishing as much as possible. The decoration aspect is still present, with the focus on creating different surfaces and expressions, but at the same time, thinking how the fusing and 42 burn-out can be used to replace construc- tion elements. This realisation led to making pockets entirely by using CB21 to fuse and burn-out to ‘cut’ or open up layers. CB21 was also used in the edges, to prevent fray- ing, creating a clean finish to the garments.

The first garment, the lilac suit, has been put together by using a sewing machine, whereas the following garments have been ‘fused’ together by applying CB21 (by hand, using a brush) to where the seams would go. This decision, however, proved to be messy and hard to execute correctly, the process seemed more like glueing the garment pieces together, which did not add to the authenticity of the project or its aim. Figure 33 - 37: Process and final results of Design Project II DESIGN PROGRAMME DESIGN MONIKA COLJA PEELING GARMENTS

Later on, an additional garment was developed, where garment form has been flattened to allow for layers to be fused through screen-printing. This paved the way for future development.

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Figure 38 - 45: Additionally developed garment, where garment form has been flattened, exploring the poten- tial of fusing and leaving layers opened in relation to the interaction with the body Design Project III: Peeling Garments (Part I, Research)

Building on previous developments and findings, this work focused on exploring the flattened gar- ment form in relation to the potential for assembly by screen-printing, building the groundwork for the degree work. Most of the focus has been put into exploring the flatness and the use of layers

in constructing the garment’s form. The project also introduced the idea of wallpaper, connecting it both to flatness in the garment construction (a reference to the flat wall), as well as texture and the idea of layering in material (peeling wallpaper, interaction between different wallpaper design).

The developments made in building the form it- self serve as the base for the degree work. The 44 form has been explored through what is now be- ing called ‘form-building’. From sketching initial ideas in paper to full-scale toiles and flat garment form patterns for the print assembly, this meth- od of working presents a base for all the future examples. The method of ‘flattening’ garment form is built on that of McQuillan and her meth- od of designing the form within the constraints of weaving. The same principle is investigated here but put into the context of screen-printing, including a different set of variables to consider.

Initially, the flattened form was planned to be researched quite extensively, setting up differ- ent perspectives and categories; however, this turned out to be too complicated when integrat- ed within the whole project. As a result, the form was kept quite simple, only using the front and side perspective to flatten the garment. DESIGN PROGRAMME DESIGN MONIKA COLJA PEELING GARMENTS

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Figure 46 - 53: Results (top row) and developments within the research course AIM

To design garment shape 46 within flat textile layers, allowing the garments to be constructed through the act of printing. AIM MONIKA COLJA PEELING GARMENTS

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Figure 54: Process of ‘fusing’ or screen-printing textile layers together 48 METHOD MONIKA COLJA PEELING GARMENTS METHOD

Learning by doing, knowing through making

The project and methods used have been developed through the process and approach of ‘learn- ing by doing’, using experimental practised based design research (Koskinen et al., 2013). Since the Peeling Garments propose a new approach to how printing can be used more functionally, a lot of the variables used have been previously unknown. This is why many experiments and trials have been needed to grasp the knowledge necessary to develop the project in a definite direction further. This is what Mäkelä refers to as knowing through making in her article Knowing Through Making: The Role of the Artefact in Practice-led Research (Mäkelä, 2007). According to her, “the process of making and its products are strongly connected with the source of knowledge” (Mäkelä, 2007). This means that the results and final ‘products’ are the holder of knowledge gained and needed to get to those results, but at the same time bring new knowledge that will allow for further developments later on. The developments presented through the design projects building the de- sign programme serve as a bridge into the degree work. However, at the same time, the knowledge gained during making of the examples allowed for further advances within the next example and 49 finally, the overall final result.

Simultaneously, using the time to implement reflective practice on findings has been of equal -im portance to guide the project further, during making and after. Taking decisions and reflecting on work happens during making all the time, so there is constant communication between the two as- pects, but not to the same extent as when the working process is temporarily stopped and results are valued in perspective.

Textile thinking

Findings in the area of design research show that textile practice and knowledge, so-called ‘textile thinking’ can generate new materials and forms (Kane, Philpott, 2013). We could argue, that it is the textile thinking that allowed for the project ‘Peeling Garments’ to come to light, as it is, an in- vestigation into using the act of printing in place of sewing. It applies one technique in place of the other (printing replacing sewing). Ways of working

Stage 1: Thinking - Making

The ‘Thinking - Making’ stage is built on simultaneous working with both the form and the mate- rial; naming the two aspects ‘Form building’ and ‘Material-Print Exploration’. They are separate yet connected. Within ‘Form building’, the garment’s form and construction are reconsidered to fit within the constraints of printing - this means the form needs to be flattened. ‘Material-Print Exploration’, as the name suggests, deals with the material side of the project, exploring layering, material, pattern and colour possibilities for the garments. The idea is born within one category but then has to be worked through both aspects for the garment to come to life, connecting the two into one, allowing the garment to be assembled by print, calling this part ‘Print Assembly’.

Stage 2: Analysing

50 The ideas and tests (prototype garments) are tried on a body, evaluating the shape, fit and interac- tion between layers. Is there something exciting happening? How to express the idea clearly? What is needed, that adds to the overall expression and what is unnecessary? Different variations are tested out to pick the best combination in terms of the interaction between the different elements. Analysing also happens during the making process, where many decisions are taken, but in this stage, making is stopped. Taking a step back to see the developments in perspective is crucial.

Stage 3: Refinement

The prototypes and tests are re-made until they reach the desired outcome. Along the way, new un- predictable findings occur, and garments have to be re-made, so there is constant communication between the analysing and making, resulting in refinement and the final examples. METHOD MONIKA COLJA PEELING GARMENTS

51

Figure 55: The stages of making and analysing Form Building

As stated, garment form is flattened to be able to fit into screen-printing constraints. This step -be gan by sketching garment shapes in paper, as it presented a quick and most concrete visualisation of how the layers would have to be connected to form a functional garment. At the same time, the paper sketch can already be used to plan out the printing steps, figuring out the correct order.

This stage has been mostly present at the beginning of the practical work, finding the right flat pattern base to work from. After the initial idea in a quick paper sketch, the shape has been tested in a virtual environment, using CLO3D to quickly and with less waste find the proper pattern. After adjustments and settling on a pattern, it has been printed out directly from the programme. Impor- tance has been put on the right fit and shape, meaning many times of going back and forth from paper pattern to a toile, since adjustments were still needed after a real-life fitting.

52

Figure 56: The steps of designing the garment’s form METHOD MONIKA COLJA PEELING GARMENTS

Two patterns proved to be a base to build the collection on: front view torso and side view trousers (Figure 37 and 38). From these two starting points adjustments and modifications have been made to have a variety in the examples.

53

Figure 57: Base pattern torso front, Figure 58: Base pattern trousers side Print Assembly, Torso

54

Figure 59: Layers and steps to construct the torso base pattern METHOD MONIKA COLJA PEELING GARMENTS Print Assembly, Trousers

55

Figure 60: Layers and steps to construct the trousers base pattern Print Assembly, Torso (steps)

56

Figure 61: Detailed steps in the process of torso assembly METHOD MONIKA COLJA PEELING GARMENTS

57 Print Assembly, Trousers (steps)

58

Figure 62: Detailed steps in the process of trousers assembly METHOD MONIKA COLJA PEELING GARMENTS

59 DEVELOPMENT

The project started by evaluating and building on previous findings; the foundation for the work has been laid in the previous development, most of it during the research course (see Design Programme, Design Project III, p. 42). This means that most of the examples build on previous work, stemming from the potential to develop ideas further or in a different context.

Within the course, three seminars took place. The intention was to show progress in front of fel- low students, supervisors and examiners and everyone was welcome to five feedback. In the first seminar, set in December, one outfit was presented, by the mid-seminar end of January, four outfits were shown. In the final seminar, 7 outfits were presented. Before each of these presentations, a sketching session has been set up to test out ideas and garments side by side and take time to evaluate the development. Each of this sessions was about taking a break from the process of making and taking a step back to analyse.

The focus of the degree work are garments constructed through printing. Their development has 60 been described in detail on the following pages. As a support to the idea of layering in material and print, undergarments in nude jersey were sewn and transfer-printed with prints developed from images of wallpaper. However, the development of that aspect is scarce in comparison to ‘main’ garments, since that is not of the same importance. One thing to keep in mind are the sketches, presented alongside the development of each individual garment: they are merely a starting point, an idea, and not how the final garment should look like. The whole process was very opento change, due to various tests carried out and changes implemented, to get the best result possible in given situation. DEVELOPMENT MONIKA COLJA PEELING GARMENTS

Balance of Clarity (Construction) and Chaos (Material Texture)

Before continuation of the research be- hind Peeling Garments, some crucial realisations have come up during the start-up workshop. Working in pairs with another designer, sharing each oth- er’s material allowed for expanding our way of thinking within the project. Work- ing together with Sofia Mollberg created a clash between the organic and dis- tressed texture of my previous develop- ments and clarity and precision of So- 61 fia’s. Composing own work in contrast to clear lines enhanced what was missing: a clarity in construction, to bring forward the idea of garments being fused by screen-printing. Furthermore, creating a balance between the textured layers and garment’s form, as well as enhanc- ing the actual garment within the layers.

Figure 63 - 68: Explorations from the workshop, using own developments in combination to work of Sofia Mollberg and vintage garments Materials and Colours

Collected photographs of peeling wallpapers serve as a starting point for materials, patterns and colours. Throughout the project, they have been there as an aesthetic guidance.

The main colours are warm, earthy tones, picking up on the starting point. Brown, beige and nude tones, close to the human skin. These are the colours that were also mostly present in the set-up for the mid-seminar (see page 128). However, the feedback was to ‘bring in more freshness, but keep the overall feeling of the collection’. In response, green and blue tones (from a bright to more dulled down tone) were added. Main colours remain dull, ‘washed out’, but accent colours in small amounts are added, to highlight and lift the garments.

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Figure 69: Peeling wallpapers as a guide for aesthetics in terms of material combinations and colours used DEVELOPMENT MONIKA COLJA PEELING GARMENTS

Figure 70, 71: Colour palette (first seminar, left; mid-seminar, right)

63

Figure 69: Peeling wallpapers as a guide for aesthetics in terms of material combinations and colours used

Figure 72: Colours used 64 COLOURS AND MATERIALS DEVELOPMENT MONIKA COLJA PEELING GARMENTS

65 66

Figure 73: The White Dress THE WHITE DRESS WHITE THE DEVELOPMENT MONIKA COLJA PEELING GARMENTS The White Dress

Stage 1: Thinking-Making

The idea developed as an answer to two previous findings: first, the result of the lilac suit (Design Programme, Design Project III, p. 42) and second, the findings from the start-up workshop and the decision to work more intentionally with the lines created by screen-printing the textile layers to- gether, pushing the ‘construction’ aspect of the overall work. The practical work started by sketch- ing with materials on a mannequin, using masking tape to draw the lines of dress’ construction. The idea was to present a white outfit, with a focus on bringing the construction of layers forward. To further prove the point, the decision to have minimal intervention in the material was taken, to shift focus to the lines and layers building the garment.

67

Figure 74: Sketching with materials (simultaneous form building and material exploration)

Print-Material Exploration:

As stated, the material intervention for the example was set up as minimal, especially in terms of tex- ture. Different densities of white pigment mixed with CB21 were tested, deciding for a higher colour den- sity, to make the lines visible, stand out on a body. Figure 75: Line tests Figure 68

Figure 76: Usual dress lines, research/workbook Figure 78: Sketch with material samples THE WHITE DRESS WHITE THE DEVELOPMENT MONIKA COLJA PEELING GARMENTS

Form-building

69

Figure 79 - 82: Flat form pattern designed in CLO3D and tests of the form on the body, with tapes used where lines would be printed (the thickness of the tape does not reflect the line’s width) Print Assembly

70

Figure 83 - 90: Process of print assembly THE WHITE DRESS WHITE THE DEVELOPMENT MONIKA COLJA PEELING GARMENTS

71 Wearing the dress

Figure 92 - 94: Testing on a body before the white sleeve is added

72

Figure 95 - 101: Printed white dress THE WHITE DRESS WHITE THE DEVELOPMENT MONIKA COLJA PEELING GARMENTS Stage 2: Analyzing

The dress was shown as a first example, at the first seminar in December 2019. While it showed progress from the previous work in the research course, the most often com- ment was the colour was ‘too white’ and not matched to the viscose sleeve. Looking at the suggested lineup and the colours of it, this made sense. The white should be dirtier, not as crisp.

Figure 102: First seminar, December 2019 Stage 3: Remaking 73 After the seminar, the dress was worked on, fixing the line detail and finding a proper tone for transfer printing over the whole garment. After many tones were tested on the fabric and against the skin, the right shade of a slight overcast was found (Figure 103, right). This resulted in the colouring of the polyester material as well as the printed lines.

The dress was taken out of a lineup after the mid-seminar, as the work progressed and as such the dress was seen as more of a toile Figure 103: Overprint (left), original (right) than a final example. 74 MONIKA COLJA PEELING GARMENTS The Peeling Trousers

Stage 1: Thinking-Making

The idea for the example came out of a styling suggestion from the side trouser developed in the Design Project III (p. 42). The trousers from that project did not have a proper closing solution. However, in a photo session with a model, a suggestion to leave the trousers open and extra fabric flapped over was shown, which suggested the action of peeling. This notion was to be researched more intentionally.

75

Figure 104 + 105: Side view trousers (Design Project III), styling suggestion Form-building THE PEELING TROUSERS PEELING THE

76 Figure 106: First try of the form, sewn toile example to find the right form in relation to layers

Figure 107: Printed toile DEVELOPMENT MONIKA COLJA PEELING GARMENTS Form-building Print-Material Exploration

77 Figure 108: Material samples and the photograph of the wallpaper as the starting point

Figure 109: Testing undergarment colour and pattern combinations THE PEELING TROUSERS PEELING THE

Figure 110 + 111: Separate pieces are first fused following the paper garment pattern taped on the table

78

Figure 112: The faint yellowish tint on the cotton layer is the dried burnout paste DEVELOPMENT MONIKA COLJA PEELING GARMENTS

Figure 113: Pieces hung on the oven frame, waiting to be cured 79

Figure 114 + 115: Separate layers are after washing out printed with a off-black line, to additionally bring out the garment’s shape Print Assembly, steps THE PEELING TROUSERS PEELING THE

80

Figure 116: illustration about the printing process, step by step DEVELOPMENT MONIKA COLJA PEELING GARMENTS

Step 1: Layers are placed on the printing table (over the garment’s flat pattern), the cotton on the bottom (right-side down) and polyester on top. After, both layers are fused through a screen, with CB21 mixed with pigment colour, applied only within the garment’s line.

Step 2: After the paste is dried, fused layers are turned right-side up. The polyester around the cot- ton is secured by placing plastic on top and burn-out paste is applied on the cotton. Fabric needs to dry, cure in the oven at 150 degrees Celsius for 7 min and be washed out and neutralized.

Step 3: The four separate leg pieces are then merged to form two pant legs. Screen is taped fol- lowing the lines from the flat pattern and CB21 is applied in the said lines, with the other side then 81 being placed on top.

Step 4: Pant legs need to be put together. Insides of each leg need to be protected by a baking paper to protect from CB21 gluing the leg together. CB21 is then applied on one of the pant legs, with the screen being taped after the flat pattern’s crotch line. The other pant leg is placed on top.

Step 5: After heat-pressing to secure the trouser in the crotch line, the inside has to be cut out on the outside of same line. THE PEELING TROUSERS PEELING THE

82

Figure 117: Sketch + final materials DEVELOPMENT MONIKA COLJA PEELING GARMENTS Wearing the trousers

Figure 118 + 119: Testing on a body after printing the fabric layers, but before assembly (left); suggestion in relation to the peeling wallpaper with colour exploration 83

Stage 2: Analyzing

After trying the trouser on a body, and testing different options with the length, it was decided to leave the separate legs open at the end (see figure 118, 119; above), to refer back to the flatness even when the garment becomes tridimensional worn on a body. To ‘fix’ the trousers in place, fitted nude jersey shorts were made. The trousers were then put in position on a model and hand-stitched on the shorts. A selection of transfer prints were tested to choose the best option in regards to the overall look. Colour scheme of the outfit follows the wallpaper reference, but in the process, decision on what to bring forward had to be made. Since the focus should be on the pants, the undergarments were printed with a subtle blueish-lilac tone.

Stage 3: Refinement

Ideally, this would be developed further and re-made to work out the various issues that appeared during the making process, as this was one of the first pieces. An improved version of the trouser pattern was developed later, so remaking this one would make it fit better with the rest. 84 MONIKA COLJA PEELING GARMENTS The Framed Jacket

Stage 1: Thinking-Making

The example came out of a question “how do I clearly define a garment without the use of lines?” In contrast to past developments (coat example, Design Project III, p. 42) the garment lines should be clear by only having layered textile within the garment’s form, no texture / pattern going outside that margin. The development was also made in construction of the sleeves, in contrast to the coat example, the sleeve should also be merged with a layer. The printed / fused texture should be covering Figure 120: Initial sketching of the idea the whole front body.

Form-building: 85 The first try has been done by going directly to the Print Assembly, to make a test piece of how the sleeve and the rest of the jacket should be constructed, if the shape of sleeve is cut out. Additional layers had to be inserted in place. A darker textile was used to clearly see what would happen. This resulted in a creation of a ‘shadow’, giving hints to the jacket’s construction.

Figure 121: Initial printed toile to plan the construction / form of the example THE FRAMED JACKET Figure 122, 123, 124: Flat pattern (left), toile for the form (right)

86

Figure 125: Sketch of the layers buidling the form

The form comes from the base torso pattern, but is modified; instead of the sleeve being added on top, the front layer is cut out in place where the sleeve would sit and two additional pattern pieces need to be inserted (see Figure 125, above). Adjustments were done to the shape of the shoulder, taking the sleeve out and making room for the arm, to make the pattern sit nicely on the body. DEVELOPMENT MONIKA COLJA PEELING GARMENTS

Print-Material Exploration

The main composition of the layers in terms of pat- tern and colour comes from the previous develop- ments within the research course. Using the same combination of materials and pattern as in the coat example from the project, change was made to leave the cotton (calico) layer as it is, without dye- ing. This was to bring out the contrast between the printed motif and the ‘peeling’ layer, especially in combination with the polyester fabric that already had stripes. By merging the layers, the stripes be- come more prominent within the floral motif. To keep the idea of a shadow, a brown tone was cho- sen for the inserted sleeve and the back layer, with lilac as the lining (before deciding on any colour, Figure 126: Material samples for the jacket multiple shades were tested. 87

Figure 127: Reactive dye samples (left), testing colours in relation to the main material (irght) THE FRAMED JACKET

88

Figure 128: Print assembly, printing process DEVELOPMENT MONIKA COLJA PEELING GARMENTS

89

Figure 129: Print assembly, printing process Print Assembly, steps THE FRAMED JACKET

90

Figure 130: Print assembly, printing process with steps of The Framed Jacket DEVELOPMENT MONIKA COLJA PEELING GARMENTS

91 Wearing the jacket THE FRAMED JACKET

Figure 131: Assembled jacket

92 Stage 2: Analyzing

The outfit presented at the mid-sem- inar contained a transfer printed pair of leggings under the printed jacket (see Figure 133, right). The balance of the look felt wrong, so the decision to make a pair of trousers in the same print motif was tested. The styling suggestion was much better com- pared to the previous one, so a pair of trousers was to be made, to have a full suit look.

Figure 132 + 133: Mid-seminar sketch and outfit on a model DEVELOPMENT MONIKA COLJA PEELING GARMENTS

Figure 134: Testing the idea of a suit

93 Stage 3: Refinement

After the styling test, a pair of trousers was made. This happened later on in the development, after the mid-seminar, while the jacket was produced before. Accordingly, the shape trouser has devel- oped, becoming more precise and nicely fitting on a body. The described development happened while making the white line suit trousers (see page 112). 94 MONIKA COLJA PEELING GARMENTS The Constructed Line Blazer

Stage 1: Thinking-Making

As an immediate response to previ- ously developed example of the blazer where the use of lines is intentionally skipped, the idea for this work was to developed a suit outfit, where the fo- cus would be on construction and use of lines to highlight it.

Figure 135: Initial sketches / ideas for the example

Print-Material Exploration

SInce focus was put on the construction, intervention in the material has been kept to a minimum. 95 According to the initial sketch, a selection of transfer printed colours for the polyester base was tested to choose the right one. After the base colour was decided, the line colours in CB21 and pigment mix were tested in relation to that.

Additionally, under layer pattern and colour combination were developed and tested in relation to the main garment. To goal was to bring out accent colours already present in the piece, as well as adding more depth.

Figure 136: Material sample + pattern visualisation Form-Building

The form was taken from the torso base as that had the perfect fit, only adjusted with blazer detailing (lapel creation, pocket positions, fake dart lines, etc) and widening of the armhole and sleeves. THE CONSTRUCTED LINE BLAZER THE CONSTRUCTED LINE BLAZER

96

Figure 137: Modified torso pattern DEVELOPMENT MONIKA COLJA PEELING GARMENTS

97

Figure 138 - 145: Print assembly Print Assembly, steps THE CONSTRUCTED LINE BLAZER THE CONSTRUCTED LINE BLAZER

98

Figure 146: Illustration of the print assembly steps DEVELOPMENT MONIKA COLJA PEELING GARMENTS

99 Figure 147: Garment tried on a body, after assembly, January 2020 THE CONSTRUCTED LINE BLAZER THE CONSTRUCTED LINE BLAZER

Stage 2: Analyzing

The jacket was presented at the mid-seminar in January, as a stand-alone piece (Figure 148, next 100 page), however, the original plan was to have a whole ‘suited’ outfit, the trousers were not yet en- tirely worked out and made at this stage. The feedback at the mid-seminar regarding this particular example was to consider if the pants are needed. Due to the development of the previous example, the Framed Jacket, where a pair of trousers was added as well, it was decided to leave this one as it is, to not repeat the same silhouette at this stage.

Stage 3: Refinement

One thing that needs to be considered when working with transparent layers is what is under. The undergarment print works well with this example, nevertheless, underwear (as in bras and panties) needs to be considered as well. As seen from the photographs on these two pages, the model’s underwear still comes through. Naturally, the solution would be to use nude underwear. Since the project is also dealing with interaction between the different layers, this should also be included in the underwear aspect: as such, printed panties and bras should be added, to further push the example in terms of the styling and pattern design. DEVELOPMENT MONIKA COLJA PEELING GARMENTS

101

Figure 148: Current outfit suggestion, March 2020 102 MONIKA COLJA PEELING GARMENTS The Green Dress

103 Figure 149, 150: Sketches for the dress, with different layering options on the right

Stage 1: Thinking-Making

The green dress has developed as a substitute to The White Dress (page 65), which was taken out of the lineup after the mid-seminar (page 128). At the same time, freshness was needed in terms of colour, since most of the outfits presented at that point were more in earthy, warm tones.

Print-Material Exploration

A range of materials (thin calico, thick calico and viscose) was dyed in shades of green (Figure 151, next page), to find the best combination in terms of material, colour and layering of the different aspects (sketch, Figure 150). The choice was to go with the darker colour as the back, peeling layer and light green as the fusing (printed motif). In relation to the printed motif, same pattern has been used as in The Framed Jacket (page 83), but in a bigger scale, to have more variation. Many sample dyeing were needed, the darker grayish green proved to be hard to dye, since there were no reference recipes in the sample colouring book available. Once the right shade was found, the selected combination was tested, to find the right shade for the CB21 mixture. THE GREEN DRESS

104

Figure 151: Colour samples, reactive dyeing DEVELOPMENT MONIKA COLJA PEELING GARMENTS

105

Figure 152: Pattern motif, size of print THE GREEN DRESS

106

Figure 153: Print assembly, printing process DEVELOPMENT MONIKA COLJA PEELING GARMENTS

107

Figure 154: Print assembly, printing process Print Assembly, steps THE GREEN DRESS

108

Figure 155: Print assembly, printing process step by step DEVELOPMENT MONIKA COLJA PEELING GARMENTS

109 THE GREEN DRESS

110

Figure 156: The green dress, washing process after curing in the oven DEVELOPMENT MONIKA COLJA PEELING GARMENTS Stage 2: Analyzing

After the layers have gone through the fusing and burn-out stage, they have been left separated to test and decide which side of the material should be used. A compromise was made; to have both the texture of the burnt-out cotton and colour of the fused floral motif, the front of the dress was cut in the printed lines and re-glued to have both sides on the outside.

111 Figure 157: Testing texture possibilities: texture outside, texture inside + print outside, mix of both

Stage 3: Refinement

The dress was defined further, by fusing the front and the back, cutting away some of the ‘frame’ fabric and adding printed / fused edges on the bottom. The comments at the examination were directed towards elevating the dress to the same level of definition that is present in the blazer / jacket examples. This will be looked into for further development of the collection for the final pre- sentation. 112 MONIKA COLJA PEELING GARMENTS The Line Trousers

113

Figure 158: Initial sketch with material

Stage 1: Thinking-Making

Similarly to The Line Blazer (p. 93), the white trouser was designed with the focus on the printing as- sembly as the core element, leaving all of the texture and colour work aside, to act as a basic piece at the core of the project, as well as potentially showing another result this way of working could look like. At the same time, the garment should still feel a part of the collection; which is additionally achieved by the uniting transfer-printed undergarments (sketch, figure 158).

Print-Material Exploration:

Since the focus is on the construction of the garment, material choices were minimal. The only exploration here was done to find the right shade of pigment mix for CB21, to match the base material. Form building THE LINE TROUSERS

114

Figure 159: Perfecting the trousers shape, to fit around the waist perfectly (compared to the peeling trouser, where peeling is the solution to solve the fit and closing) DEVELOPMENT MONIKA COLJA PEELING GARMENTS

Figure 160: Print assembly; merging each pant leg together 115

Figure 161: Print assembly; reinforcing the zipper fly by fusing, this is where a closing solution will be put in place Print Assembly THE LINE TROUSERS

116

Figure 162 + 163: Print assembly; drying process (left), fusing the crotch seam, to construct the two pant legs together (right)

Figure 164: Print assembly; after process of cutting out the middle (crotch) DEVELOPMENT MONIKA COLJA PEELING GARMENTS

117

Figure 165: Print assembly illustration, steps 118 MONIKA COLJA PEELING GARMENTS The Blue Line Layered Blazer

Stage 1: Thinking-Making

The garment’s form and design is similar to that of The Line Blazer (page 93), but the idea here was to play more with the materiality and layering of the garment. Already printed poly- ester was used, similar to the one used in The Framed Jacket, but due to the colour of the lines, much more graphic. The intention was to bring in the line in the material, not just in the fused seams, but tone in down with the layering.

Figure 166: Initial sketch with material 119

Print-Material Exploration

Bought pre-printed polyester was explored in combination with a mint layer, same as the one used for The Green Dress. This was to bring in a new colour (blue), to create more variety, but combine it with the mint, to tone down the graphic effect of the lines and merge it with a colour that is already present.

Figure 167: Fused layers, material sample THE BLUE LINE LAYERED BLAZER THE BLUE LINE LAYERED

120

Figure 168: Mixing pigment with CB21 Figure 169: Colour tests DEVELOPMENT MONIKA COLJA PEELING GARMENTS

121

Figure 170: Printing process Print Assembly, steps THE BLUE LINE LAYERED BLAZER THE BLUE LINE LAYERED

122

DEVELOPMENT Figure 171: Print Assembly illustration, step by step MONIKA COLJA PEELING GARMENTS

123 THE BLUE LINE LAYERED BLAZER THE BLUE LINE LAYERED

124

Figure 172: Testing on a body, layering with undergarments

Stage 2: Analysing

The assembled garment was visually strong and had a more graphic expression compared to the previously developed examples. To make it more coherent with the rest, tests with different under- layers were made, deciding for a darker floral pattern. The ‘problem’ that arose was the different expression of the undergarment’s pattern, as fabric used was bought and not transfer-printed as the rest. To make it more convincing, own pattern should be developed, in a similar colour way. DEVELOPMENT MONIKA COLJA PEELING GARMENTS Stage 3: Refinement

Ideally, the outfit would be developed with undergarment print, example of a suggestion below (Figure 173). A combination of transfer print on top of the existent pattern would be something to explore - layering of pattern in the undergarment itself. The idea was tested, but not successfully, before the labs were closed. This would be ideally developed further.

Similarly, the styling would be developed further in terms of the shoes and other accessories. The idea was to develop a heavier boot suggestion, with printed layered textile, climbing up the leg.

125

Figure 173: Possible print replacement 126 MONIKA COLJA PEELING GARMENTS The Peeling Trench-Coat

Stage 1: Thinking-Making

During the previous developments, a trench-coat was a garment that was previously explored in the printing / layering technique within the Design Project II (page 40), where it was presented as one of the final outcomes. The idea of a trench-coat was present since the first seminar, in the sketched lineup. Later on, it was abandoned and then resurfaced, to bring in variety of silhouette to the collection. The initial idea focused on the layering and textural aspect, possibly bringing in two layers in the textured print.

127

Figure 174: Initial sketches, colour combinations Print Assembly, steps THE PEELING TRENCH-COAT

128

Figure 175: Print Assembly illustration, step by step DEVELOPMENT MONIKA COLJA PEELING GARMENTS

129 Figure 176 - 178: Print assembly, fusing and burning-out the first layer THE PEELING TRENCH-COAT During the process, to further explore the peeling of the garment, the example was adjusted to have the layers simulate the peeling action of the top layer. 130

Figure 179: Testing the layers, pinned on a body after the first printing DEVELOPMENT MONIKA COLJA PEELING GARMENTS

Figure 180 + 181 Print assembly, adding the top layer to create the peeling effect, before and after burnout (Back of the coat)

131

Figure 182 + 183: Print assembly, adding the top layer to create the peeling effect, before and after burnout (Front of the coat) Print Assembly, steps THE PEELING TRENCH-COAT

132

Figure 184: Print Assembly illustration, step by step, part 2 DEVELOPMENT MONIKA COLJA PEELING GARMENTS

133 THE PEELING TRENCH-COAT

134

Figure 185: Printing process at home, after lab closure DEVELOPMENT MONIKA COLJA PEELING GARMENTS

Figure 186: Printing process / cutting the frame 135

Stage 2 + 3: Analysing, Refinement

Adjustments had to be made in relation to the lab closure, so only material that has already been prepared was available to continue working with. This means that texture and burn-out was not available to use, and only fusing - printing the layers was possible to execute. In light of that, tex- ture was left as it was - previously, a decision to take away the second calico layer was taken (the leftovers are visible, with the purple print). Originally, a second round of burn-out printing would be done, to get the motif definition at a higher level, having a similar expression as in the green dress. Due to circumstances, the plan was abandoned, focusing on bringing the available material layers together.

Ideally, the example would be done in different conditions, bringing the garment to a higher quality level. Lineup development

Figure 187: Lineup suggestion at the first seminar, December 2019

Figure 188: Lineup presented at the mid-seminar, January 2020 136

Figure 189: Lineup suggestion after the mid-seminar

Figure 190: Lineup suggestion for the live sketching session, March 2020 DEVELOPMENT MONIKA COLJA PEELING GARMENTS

Figure 191: Presented outfit at the first seminar, December 2019

137

Figure 192: Presented outfits at the mid-seminar, January 2019

Figure 193: Presented outfits at the final seminar, March 2020 RESULT

The result of the research into using printing to physically construct garments as well as decorate them is a collection of seven examples, which present a different level of expression and the use of print. While some are still heavier on the decoration aspect, the fact is that all of the main garments are entirely constructed by printing. Presenting a new perspective on use and role of print as well as creative a rich expression in the material itself can at times confuse the viewer by not seeing the novelty of the aspect of the print assembly, however, at the same time, the vast possibilities for further application and development prove the depth of the suggestion.

All the garments start with a base pattern, as mentioned earlier, two main patterns have been used for the examples presented. By modifications, material and colour choices that is not as obvious. The aesthetic choices aim to create a strong yet fragile expression of decay of layers and layers of wallpaper. The idea is naturally adjusted to functionality and allowances of a garment, as well as toning it down to create a balance between the richness of texture and clarity of shape and con- struction. Naturally, the balance fluctuates from one example to the next, sometimes texture taking over, at other times focusing solely on the print construction. 138

The result presented currently consists of seven examples, a suggestion of trousers, jackets / blaz- ers, coats and a dress. The range of garment types could be extended. The collection and styling will be developed further for the final showing in a format of a photo shoot and a video clip. The result could be presented in different settings, one suggestion is already presented in the docu- mentation, where leftovers from transfer printing are used as a background prop, creating a peeling wallpaper. The presentation formats will be executed in collaboration with a professional photogra- pher, as photographs presented here were taken by the author herself, due to the circumstances. As such, they are not seen as a final presentation format. RESULT MONIKA COLJA PEELING GARMENTS

139

Figure 194: Lineup at the examination, April 2020 LOOK 1

THE PEELING TROUSERS

FLAT PRINTED GARMENT: side view trousers, peeling in the hip area; bottom layer 100% polyester, transfer print fused with top layer thick calico, reactive dyed + printed with burn-out paste

main garment is fixed onto

a polyester mesh nude transfer printed shorts (100% polyester) + transfer print

+ styling with polyester nude mesh turtleneck (100& polyester) + transfer print

140 THE PEELING TROUSERS PEELING THE RESULT MONIKA COLJA PEELING GARMENTS

141

Figure 195: Peeling Trousers, flat 142 THE PEELING TROUSERS PEELING THE RESULT MONIKA COLJA PEELING GARMENTS

143 LOOK 2

THE FRAMED SUIT

FLAT PRINTED GARMENT - JACKET: front view torso adjusted for a jacket (lapel) FRONT: top layer 100% polyester, pink stripe (bought)

THE FRAMED SUIT fused with (custom mixed CB21 + pigment; apricot shade) bottom layer thin calico, natural colour + printed with burn-out paste

LINING: thin cotton calico, reactive dyed (lilac) BACK: thick calico cotton, reactive dyed, soft brown

FLAT PRINTED GARMENT - TROUSERS: side view trousers, developed shape for front closure top layer 100% polyester, pink stripe, transfer printed fused with (custom mixed CB21 + pigment; apricot-pink shade) 144 bottom layer thin cotton calico RESULT MONIKA COLJA PEELING GARMENTS

145

Figure 195: Framed Suit, jacket + trousers, flat THE FRAMED SUIT

146 RESULT MONIKA COLJA PEELING GARMENTS

147 LOOK 3

THE CONSTRUCTED LINE BLAZER

FLAT PRINTED GARMENT - JACKET: front view torso adjusted for a jacket (lapel, dart and pocket detailing) 100% polyester, transfer printed nude-orange tone fused with custom mixed CB21 + pigment; seams to match the polyester + red and lilac accents for detailing

+ styling with mesh polyester undergarments, transfer printed turtleneck + leggings, 100% polyester sock shoes, transfer printed lycra tube knit THE CONSTRUCTED LINE BLAZER

148 RESULT MONIKA COLJA PEELING GARMENTS

149

Figure 197: Constructed Line Blazer, flat 150 MONIKA COLJA PEELING GARMENTS

151 LOOK 4

THE LINE TROUSERS

FLAT PRINTED GARMENT: side view trousers, developed for front closure 100% polyester, off-white colour (bought) fused with custom mixed CB21 + pigment; seams to match the polyester base (beige tone)

+ styling with mesh polyester undergarments, transfer printed (not executed yet) turtleneck + leggings, 100% polyester sock shoes, transfer printed lycra tube knit

152 MONIKA COLJA PEELING GARMENTS

153

Figure 198: Line trousers, flat 154 MONIKA COLJA PEELING GARMENTS

155 LOOK 5

THE PEELING TRENCH-COAT

FLAT PRINTED GARMENT: front view torso, adjusted for a coat (elongated + lapel) bottom layer 50% cotton, 50% polyester, check woven pattern, reactive dyed beige brown, fused with custom mixed CB21 + pigment; seams to match the polyester base (beige tone) top layer thin calico cotton, reactive dyed warm grey,

+ (a print layer with CB21 + lilac pigment, removed cotton layer)

+ styling with mesh polyester undergarments, transfer printed (not executed yet) turtleneck + leggings, 100% polyester blue sock shoes, transfer printed lycra tube knit

156 MONIKA COLJA PEELING GARMENTS

157

Figure 198: Peeling Trench-coat, flat 158 MONIKA COLJA PEELING GARMENTS

159 LOOK 6

THE GREEN DRESS

FLAT PRINTED GARMENT: front view torso, adjusted for a dress bottom layer 100% polyester, mint colour (bought) fused with custom mixed CB21 + pigment; vivid green top layer thick calico cotton, reactive dyed muted (grey) green

+ styling with mesh polyester undergarments, transfer printed (not executed yet) turtleneck + leggings, 100% polyester sock shoes, transfer printed lycra tube knit

160 MONIKA COLJA PEELING GARMENTS

161

Figure 199: Green Dress, flat 162 MONIKA COLJA PEELING GARMENTS

163 LOOK 7

THE BLUE LINE BLAZER

FLAT PRINTED GARMENT: front view torso adjusted for a jacket (lapel, dart and pocket detailing) 100% polyester, blue stripe (bought) + 100% polyester, mint fused with custom mixed CB21 + pigment; shades of blue to match the base

+ styling with mesh polyester undergarments, transfer printed (not yet executed) sock shoes, transfer printed lycra tube knit

164 MONIKA COLJA PEELING GARMENTS

165

Figure 199: Blue Line Blazer, flat 166 MONIKA COLJA PEELING GARMENTS

167 DISCUSSION & REFLECTION

Analysing the work in relation to the aim, it is clear to see the collection as a completely new sug- gestion of how printing can be applied to actually build the form. Simultaneous design practices mostly focus on bringing the garment and print closer together, but the connection never really becomes physical, it stays on the level on informing. Even with the development of digital printing technology, the form is not dependent on the print. The two aspects have to be developed along- side, with print usually being designed to fit into the form’s constraints. The development from Arn- bert’s work, where printed motifs guide the form into place is an analog approach to suggest a new hierarchy of form versus print. However, the work is yet another suggestion of a closer bond, one of information. The printed motifs don’t necessarily need to be there for the form to stay together; in fact, they are stitched onto the garment, to hold the shape in place. The actual physical construc- tion is still done by sewing. In contrast, the connection between form and print(ing) within the col- lection presented here is, in fact, physical. The process of printing is used to assemble garments.

The investigation creates a base, that could be explored further. Within the development of the 168 examples, the focus has not been only on the printing to construct, but also printing to create tex- ture and a certain expression in layering. As such, it offers many potential starting points for future investigations as one could imagine the work presented here in different scenarios. There is the as- pect of construction by printing, with crisp lines and transparent materials, that already on its own creates a new language and expression (for example, The Line Blazer or The Line Suit Trousers). On the other hand, there’s examples that have expressive quality and results in texture and layering (for example, The Framed Jacket), but the construction element of print is perhaps not obvious to the viewer. As a result, the work could present two directions to build on. Undoubtedly, the aspect of printing in relation to flat garment construction, presents a far more fresh approach and expression in garment making and could be explored further in both relation to the form as well as material.

Furthermore, the foundation of this work could also be further in relation to finding more sustain- able ways of producing. Not only does it suggest a way of working where transport is reduced as both decoration and assembly could happen in the same stage and location, something that came up during the experimental research was the fact that the fused lines became damaged and some- times even fell apart, when washing in hot water, as the glue loosens. This was actually one of the earlier realisations, back in Design Project I, where the whole fusing principle has only began to be explored. At that time, it was something undesired. However, when considering sustainability, one would question if the whole dissolving aspect could be explored further? Garment disassembly in recycling is a known problem, but what if garments would be assembled by print and adhesives MONIKA COLJA PEELING GARMENTS that would dissolve in certain conditions? Could this be another perspective of designing for dis- assembly? There is also the aspect of flat garment construction and merging of rectangle layers, meaning the garments pattern construction is zero-waste (in most cases, when the ‘frame’ is not cut away). Taking all of the described into consideration, this could be the third direction for possi- ble continued research, exploring the sustainable aspect further.

The potential of applying the developments to garment production and a commercial setting is that of new expressions in applied design and, as already described, potentially a new, sustainable approach to garment manufacturing where garments are designed to be disassembled. Howev- er, the current state of the collection might not be for practical wear, especially in terms of gar- ment care; getting to that stage would require extended research into the print assembly process and adhesives in a industrial setting. The process of producing within the project was extremely manual and hands-on, so adjustments would be needed to translate it into an actual production.

169

Figure 200: The Line Blazer Figure 201: The Line Suit Trousers

Figure 202: The Framed Jacket (Suit) REFERENCES

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