katrinastaitf3000 - Tumblr blog

[katrinastaitf3000]

HARVARD REFERENCING

Morrison, B. (2010) Sally Mann: The naked and the dead, The Guardian. Available at: https://www.theguardian.com/artanddesign/2010/may/29/sally-mann-naked-dead (Accessed: 30 April 2024).

Petrow, S. (2018) The gift of a box full of darkness, The New York Times. Available at: https://www.nytimes.com/2018/05/24/well/gifts-gratitude-friendship-loss-grief-stress-poetry.html (Accessed: 03 May 2024).

Croft, C. (2024) Rick Owens: Ready-to-wear AW24, 10 Magazine USA. Available at: https://usa.10magazine.com/rick-owens-ready-to-wear-aw24/ (Accessed: 10 May 2024).

Phelps, N. (2024) Rick Owens fall 2024 ready-to-wear collection, Vogue. Available at: https://www.vogue.com/fashion-shows/fall-2024-ready-to-wear/rick-owens (Accessed: 10 May 2024).

Bell, A. (2023) Log in, WGSN. Available at: https://www.wgsn.com/fashion/article/6387b5d5995aec17a4f6d6e6#page9 (Accessed: 10 May 2024).

Grace Ciao (no date) Forbes. Available at: https://www.forbes.com/profile/grace-ciao/ (Accessed: 10 May 2024).

Peers, M. (no date) Bourke’s regulars, Matt Peers. Available at: https://www.mattpeers.photography/bourkes-regulars-3 (Accessed: 11 May 2024).

Alexander McQueen – spring/summer 2010 (no date) ARCHIVED. Available at: https://archived.co/Alexander-McQueen-Spring-Summer-2010 (Accessed: 12 May 2024).

Hirshey, G. (2008) Why fight invasive vines? Just turn them into art, The New York Times. Available at: https://www.nytimes.com/2008/03/30/nyregion/nyregionspecial2/30colct.html (Accessed: 13 May 2024).

Young rep (no date) Birmingham Rep. Available at: https://www.birmingham-rep.co.uk/take-part/youth-theatre/young-rep/ (Accessed: 21 May 2024).

Bourke’s Regulars Gallery (no date) Matt Peers. Available at: https://www.mattpeers.photography/bourkes-regulars-gallery (Accessed: 21 May 2024).

About pattern (no date) About Pattern. Available at: https://www.aboutpattern.com/ (Accessed: 21 May 2024).

Behind the scenes: Hypnosis: Collections (no date) Iris van Herpen. Available at: https://www.irisvanherpen.com/collections/hypnosis/hypnosis-photography-by-molly-sj-lowe (Accessed: 31 May 2024).

Black and white photographs of Dead Flowers (no date) Keith Dotson Photography. Available at: https://keithdotson.com/collections/dead-flowers (Accessed: 31 May 2024).

Meet Mahawa Keita, winner of 2021’s Textile Design Creative spirit award (no date) Birmingham City University. Available at: https://www.bcu.ac.uk/fashion-and-textiles/news-and-events/blog/mahawa-keita-creative-spirit-award-2021 (Accessed: 02 June 2024).

[katrinastaitf3000]

Evaluation & Final Outcome

Inspired by the quote “An unexamined life is not worth living” (Socrates), I have created this evaluation to identify what went well and what could have been done better throughout this assignment. This information can then be used to improve my work on future assignments .

This assignment allowed me to develop many skills and techniques I had previously learnt earlier in the year, including mind mapping, primary and secondary research, mood board creation, croquis creation, sublimation printing, and photoshop use.

I also learnt new skills such as design brief creation, planning work, garment design, pattern making, and use of industrial sewing machines.

The assignment asked me to create a sketchbook portfolio of work to visually communicate my design process, leading to the construction of a final garment.

It also required me to write a design brief and plan, to manage my work, and document my progress in a blog.

I developed my previously learnt mind mapping skills to create my Dark Garden narrative, which fed into my creation of a design brief detailing a clear aim and objectives. Linking each task back to my design brief enabled me to stay focused on my work. I believe my design brief was strong because it allowed me to make difficult decisions, including using a subtraction minimal waist pattern based on my sustainability objective. Moving forward, I will ensure that I list a strong objective for each key area of garment design and creation process, providing me with more guidance when making decisions.

My design brief fed into the creation of a plan that listed all the key tasks for this project in one place. This enabled me to prioritise my work, ensuring I made the most of the time and facilities available. Using a plan helped with my confidence and anxiety because I could see what needed to be done at any one time. It also allowed me to work independently with minimal assistance from tutors. I believe my plan was strong because I completed my assignment within the deadline given. Moving forward, I will create a plan template listing tasks that have to be completed on every assignment. This will make creating a plan quicker and easier.

I developed a previously created croquis template, which enabled me to quickly record garment designs when inspired. I spent time experimenting with different pencils and techniques and listening to feedback. I finally created a template that communicates my Dark Garden narrative well. This is an area that I definitely need to improve, so I have set myself a smart target. Moving forward, I will create a strong croquis template with symmetrical features and colour in time for the start of my degree course in September. To achieve this, I will spend 1 hour a week practising my drawing skills, experimenting using different pencils and pens.

I developed my skills in sublimation printing allowing me to create 3 metres of fabric with my own personally created print. I believe the printed fabric added strength to my final garment but the process created many issues both technical and general. My previously learnt knowledge of Photoshop enabled me to tackle issues such as shape manipulation but not pixelated imagery. The process of printing and heat transfer also took longer than planed due to my lack of knowledge. Moving forward I will spend time reading about and using Photoshop with a view to it improving my work in future. I will also ensure that I plan extra time to complete large tasks in the printing room.

I used a block pattern to create a pattern for my chosen garment design. This was then used in a subtraction pattern cutting method originally chosen for its minimal waist benefits but also allowed me to manipulate and drape certain areas to create texture in the garment. I created a half sized sample, ensuring that the garment met my brief. I also used this as a guide when creating the final garment. I did take a lot of guidance from Paula, and moving forward, I would like to be able to work more independently in this area

I learnt how to use industrial sewing machines to create my final garment. Securing seams with the overlocker machine, attaching zips using zipper fett, sewing in interfacing to add structure to the garment, and heat pressing to finalise shape. Using these machines added speed and professionalism to my garment, not obtainable using domestic machines, but unfortunately, I did make some mistakes. Moving forward, I will practice using industrial machines with a view to improving my skills and knowledge.

I believe I met most, if not all, of the key aspects of my brief. The printed image I used portrayed decomposing flowers, engaging my customer with these darker subjects through nature and the garden, empowering them to embrace the darker side of their own life. I believe it also promotes the need to understand how death and decay are a much-needed part of life and evolution through its ability to highlight the beauty in a dying flower.

The vines vice like grip and thuggish behaviour engages the wearer and observers in the darker side of nature.

I experimented with garment shape by creating garment designs using primary and secondary inspiration before developing by using draping and half size patterns methods.

I experimented with garment colour by using Photoshop filters to create different colour prints before creating sublimation samples on fabric.

I experimented with texture using different fabrics for printing as well as using draping techniques.

I used my time efficiently throughout the project by creating and regularly reviewing a plan.

I created a garment with sustainability in mind by using a minimal waist pattern. I also created a vine that will allow the garment to be worn in different ways, meaning the wearer will not get the board of wearing it.

Finally, I created a garment for less than £50. This was chieved by sampling colours and prints before making a decision, as well as using donated fabrics and materials were possible. I also reviewed costs on a regular basis to ensure costs were kept below the target.

This assignment went well and I have learnt many new skills to help me when my degree starts in September. I have also had to deal with many issues.

I am currently working on a lessons learnt document containing problems that have occurred along with the solutions I have decided on. This is a work in progress and will assist me when similar issues occur in future assignments. I am also documenting techniques and there benefits, along with feedback received.

[katrinastaitf3000]

Garment construction and alterations

Hand Sewing

I used the mini version of my garment created on the small manakin to attempt to create something similar in this garment. I have already established that the rouched up design of the lower part of the garment adds texture, mimicking that of the crumpled Camilia petals in the print itself.

I started by twisting some loose fabric round and pinning it in place.

I then experimented with various ways to ruffle the fabric, pinning and un pinning untill I found the best combination.

I then hand sewed everything into place.

The final job was attaching and entwining the vine around the neck torso and wast before weaving it in and out of the ruffles. I did not attach the vine because I want it to be removable and interchangeable, enabling the garment to be worn in different ways, adding to it life and sustainability.

[katrinastaitf3000]

Garment construction and alterations

Machine sewing

With the pattern cutting complete, I headed to the fashion workshop to start machine sewing. Firstly, I used an overlocker machine to join fabric pieces at the seems to ensure the fabric did not fray.

First lesson of the day : make sure I am only pushing one layer through at any one time.

I now have two small Cuts in my fabric due to overlocker knife, but luckily, they are in areas of the garment where I will be ruching so easy to fix and hide.

I then attached front and back fabric pieces at shoulder using overlocker stitch, ready for a first fitting on the manikin.

Once on the manikin, it was obvious that attaching an invisible zip would improve the garment fit, so using the zipper foot, I added an invisible zip before closing the second side seem ready for the Interfacing.

Lesson learnt – Check that garment fits manakin before attaching zip and seeming.

After unpicking the seem and detaching the zip, I used the zipper foot to attach a longer zip, checking it fitted the manakin before re sewing the side seem.

I then hemed the armholes with a regular straight stich using the industrial sewing machine.

I then attached the interface front and back interface pieces to arm holes and neck line. I used a stay stitch to ensure the interface stays on the inside of the garment.

Finally, I heat pressed the garment to secure its newly formed shape before putting it on a manakin, ready to create the final skirt structure using hand stitch.

[katrinastaitf3000]

Cost Review

Polyester Sateen 25cm £1.36

Polyester Dorado 25cm £1.39

Digital Printing 50cm £3.25

Polyester Dorado £16.68

Digital Printing £19.50

Fabric for vine experimentaion £0 (donated)

Fabric for final vine creation £0 (donated)

Wire for vine creation £0 (donated)

Total £42.18

Plan Update w/c 20/05/2025

[katrinastaitf3000]

Vine Construction For Final Garment

The wearer needs to be able to change how the vine is worn to strengthen the garments' sustainability.

To determine the length of wire needed for the vine construction, I experimented with the different ways it could be wrapped around the manaquin.

To hide the wire, I created a case using a black overlocker stitch based on previous experimentation..

Feedback from Louise and other students sugestested that the casing tightly scrunched up on the wire was a better method for communicating the vines hostile grip. I decided to take their advice and use this method for the final garment.

[katrinastaitf3000]

Garment construction and alterations

After much consideration, I decided to use the original subtraction pattern method for the creation of my final garment. It is a minimal waist pattern cutting technique that meets the sustainability objective of my design brief and will allow for draping and ruffling in the skirt mimicking the narled edges of the dying Camilia flowers in the print aswell as hide the two seems in the length of the fabric, bought about by the chosen printing technique.

I cocentrated and worked slowly when cutting my printed fabric, asking Paula for assistance when I was unsure because my £50 budget would not cover a second piece of fabric or print.

I added interfacing to a piece of fabric cut from the main length, using the block fusing method.

I folded the rest of the fabric width ways and overlooked the seams, leaving one opening, similar to a pillow case.

I pined my pattern onto the fabric and drew round it before cutting it out using the subtraction pattern method. I paid special attention to were I put the pattern pieces, choosing the darker parts of the print for my bodice.

Whilst waiting for Paula’s advice, I experimented with adding wire to my vine by plating it with green fabric. The sample did not look professional because the wire was visible through the plated fabric. To solve this, I created a casing for the wire using the overlocker. The casing successfully hid the wire, and the black overlocking stich added a contrasting colour to the green piece. Considering these benefits, I have decided to use the technique in my final piece.

Cutting went to plan, and there were no visible seams running through the bodice because I thought about where the pattern pieces were placed before cutting. I aim to hide them when I ruche the skirt.

[katrinastaitf3000]

Final Pattern Design

I have been experimenting with garment shape with a view to meeting my brief objectives, creating a garment with sustainability and cost in mind, and experiment with colour shape and texture.

I cut and sewed into the fabric colour samples previously developed to create variouse shapes and structures.

This piece represents both the vine (in the form of zig zag stitch) and the print I have decided to use in my final garment. Unfortunately, the structure of the garment is simple and does not communicate my narrative.

To create the structure of this design, I pulled tight initial hand stitching. This created a ruffled effect that communicates the narled edges of the dying Camilia flowers. Unfortunately, the colour of the print is too bright and warm and does not communicate the darkness required.

For this design, I sewed into cut circles of the printed fabric before pulling tight on the thread. This created a circular ruffled effect representing the dying Camilia flower. The colours in this print are perfect due to them being cool and dark.

Each of these pieces had a feature that communicated my narrative or answered a brief objective, but I dont believe any of them did this strongly or completely.

I have decided to use my sublimation pattern design because I believe it has multiple aspects that strongly communicate my narrative and meets my brief.

The Subtraction Pattern Cutting technique meets my objective “Create a garment with sustainability in mind”.

The 3 metres of fabric it would require to create a full sized garment would meet my objective "Keep cost of project under £50."

I also believe that the rouching technique sucseesfully communicates the narled effects found in dying deseased leaves and petals.

This, along with my developed print, comunicating the beauty in death and vine construction, cominicating the vice like grip of death and disease over everyone, strongly communicates my Dark Garden narrative.

[katrinastaitf3000]

Garment Cost Review

Polyester Sateen 25cm £1.36

Polyester Dorado 25cm £1.39

Digital Printing 50cm £3.25

Polyester Dorado £16.68

Digital Printing £19.50

Total £42.18

Plan Update w/c 13/05/2024

[katrinastaitf3000]

Colour and fabric development

Issues with printing

The colour, fabric, and image have been sampled and chosen, so I was ready to print my garment fabric. I met with Kavita and Paula to discuss my options.

The first issue that arose was the photoshop image height and width did not match the 1500 mm x 3000 mm I required. This could be remedied by either shortening the length of the fabric to 2690mm or cutting the link between the width and height and stretching the image slightly. After viewing the slightly stretched image on screen, I decided to choose the second option due to 2690mm of fabric being too short for my needs.

The next issue that arose was the heat press table only measuring 1.5 x 1m, meaning I could not transfer the image onto 3 meters of fabric in a single heat press. My options included heat pressing onto 3 x 1m pieces of fabric and sewing them together at the end, creating 2 seems in the length of the garment. Or cutting the print into 6 x 75 cm x 1m pieces, and individualy heat pressing them onto the fabric, moving it each time to create on full piece. This would create a high risk that printed edges would not fit together properly. I chose the first option because I believe I could hide the extra seems in the ruffled garment design quite easily.

After cutting my fabric, I pre shrunk it ready for transferring the image.

The print came out slightly pixelated, which wasn’t expected after the work I had done to avoid it. It's grown on me, though. I think it communicates the breaking down of the dead flowers back into the ground to feed a different form of life.

I really enjoyed printing my fabric with an image I had created, but in the future, I will ensure that any photos I take as primary research are high quality. I will also ensure that I use more images in the tiling technique.

[katrinastaitf3000]

Colour and fabric development

Relising that my chosen photo is only 1.6 Megabyte created an issue. If I increase the photo to fit the 3 meters of fabric needed for this garment, the image will become pixelated.

I would ideally like to do a large test print, but the cost and waste this will incur would mean there’s a risk I would not meet the cost objectives.

I decided to experiment with Photoshop using different techniques to ensure the print will not turn out pixelated.

I started putting together multiple tiles of the photo. Unfortunately, this created a sharp line between prints.

To mask the sharp lines, I used the smudge tool to merge the tiles together. This hid the sharp lines successfully but softened the jaggerd edges of the petals, which are considered integral to the communication of my narrative.

I remembered back to the kaleidoscope patterns found in Alexander McQueen’s spring summer 2010 collection.

“iridescent garments, fabrics designed to imitate the kaleidoscope patterns of moths and butterflies, creating a biological hybridization of women with an animal.” (Alexander McQueen)

I love the mysterious nature of the paterns

I was inspired to use this technique myself, and after some more experimenting, I realised Photoshop allows you to flip images. Fitting them together this way eliminates the sharp line and gives a kaleidoscope pattern, which provides a dark mysteriouse feel without whist keeping all of the key aspects of my pattern.

This technique has also developed the print further and created lots of hidden Dark Garden images, including :-

A moth

A Spider

as well as a mushroom

[katrinastaitf3000]

Colour and fabric development

To develop the colour and print further, I used Photoshop layers to dull down the pink in my image and highlight the shrivelled textures and shapes.

I really wanted to improve the darker message portrayed by the image and believe these photoshop samples do that well in differing ways.

I also sampled a different fabric, choosing a matt polyester with a crisper weave, which provided a firmer, more structured appearance compared to the sateen.

I used a 25 cm strip of fabric along with a small version of my chosen print, allowing me to create many prints for a small cost, adhering to my cost objective

The task was extremely productive, providing me with lots of choices. After consideration, I chose this print for my final garment. It highlights all of the best bits of the photo, including the jagged black crisp edges of the petals complimenting the colour drained aspects of the decomposing petals. It is the darkest of all of the samples, and the slightly cooler pink tones compliment all aspects of the photo.

All this considered, I believe the development of this chosen print strengthens its ability to meet part of my brief "Engage my customer with the disease and torment found in the garden, empowering them to see the beauty in the darker side of their own biological clock.”  It also meets the objective to “Experiment with garment shape colour and texture.”

I

[katrinastaitf3000]

Colour and fabric development

Digital heat transfer

I have decided to look further into this primary research of photographs of my Camellia flowers in different states of decomposition, with a view to using them as a print for my garment. I believe that the colours and textures strongly represent the dark beauty of death and decay and how they are a much-needed part of life and evolution.

I remember a technique I learnt in previous print workshops called Sublimation.  It allows you to print a photo onto specialised paper and then transform it over to fabric using the heat press.  You can only use this technique on polyester fabric so it will limit my fabric choices and as a result I have decided to create a sample to see how it looks and feels first.

For my first sample I chose a Polyester Sateen Glazier fabric because I thought the soft sateen feel of the fabric represented the Camilia petals.  I also chose a photo that shows the most colour and texture.

For my second set of samples, I took inspiration from my photo and painted it using sublimation dye before heat pressing it onto fabric.

I love the differing stages of decomposition highlighted in the sublimation prints.  The black shrivelled textures against the yellowing petals.  Unfortunately, the pink of the flower has printed too vibrantly which does not communicate my darker narrative.  I also love the abstract nature of the sublimation sample but once again, the colours were too vibrant.  To develop my fabric further, I will use Photoshop layering to create some darker images for my next lot of samples.

This work has helped me decide to develop this print further and use it in my final garment. It meets part of the brief “Engaging my customer with the disease and torment found in the garden, empowering them to see the beauty in the darker side of their own biological clock.”  It also meets the objective to “Experiment with garment shape colour and texture.”

[katrinastaitf3000]

Plan updated w/c 06/05/2024

[katrinastaitf3000]

Vine Samples

[katrinastaitf3000]

Vine construction

I have decided to explore vine designs further, with the view of incorporating them into my final garment. I believe their vice like grip will portray how everyone is shackled to the concept of death and disease.

I am inspired by American artist Laura Spector, who uses extremely invasive vines to create beautiful pieces of architecture and furniture.  Her designs really capture the strength and repressive nature of the vine, which is what I would like to my garment to communicate.

“With a bow saw and a vision who wrings beauty from this serpentine killer, coaxing it into furniture, sconces, mirrors and garden arches. I had heard that, single-handed, she had freed hundreds of trees and shrubs on public and private lands and carted off tons of the wily invader.” (new york times)

Using this as well as primary research photos, I experimented with techniques such as embroidery and macramé, to produce some vine samples that would communicate the hostile invasive nature of vinesand ground covering plants.

Having already establishing that macramé is too soft to communicate the hostile nature of the vine, I list some more ideas to experiment with.

This sample was created using heavy weight textile fabric, which gave the piece good structure. I cut sharp shapes into the fabric before twisting and sewing into place. I loved its messyness, but it's still not what I was looking for.

I embroidered rope onto a green piece of fabric before attaching leaf shaped pieces. I love colours, but it looks like something out of a fairy tale.

Tightly twisting and plating before sewing into place appears to communicate the hostile nature of the vine in the best way.

I added wire to provide good structure, allowing me to wrap the ivy around the garment, communicating that death has a grip on every living thing.

[katrinastaitf3000]

Fashion Workshop Induction

Today, I was inducted into the Fashion Workshop.  This covered instruction on how to use an industrial sewing machine, overlocker, and iron safely.

I threaded and used an industrial sewing machine that provides basic stitches quickly and effectively.

I used the industrial overlocker that uses 3 or 4 threads and a blade to create a strong seem with neatly cut edge.

Finally, I used an industrial iron that used steam and a vacuum table to set a seems in place.

Knowledge of using these machines will assist me in the creation of my final garment for this assignment. It will allow me to create my work to a professional standard, ensuring that seams and hems are neat and durable.