Week two of Barnardo’s has been focused on creating different samples that we can include in our research but also go on to use in our final makes to add interest and more variety. I have a selection of samples in knit, quilting and hand and machine embroidery throughout my research pages, which I have tried to keep with the theme from my chosen trend by choosing appropriate neutral and earthy colours for wool/yarn and embroidery thread, for example. I chose to create some samples using the floral motif from my first research which combined quilting with free machine embroidery to give an image that added raised texture to the surface of the fabric.
This week I also went out and sourced three garments from Oxfam that are to be deconstructed and remodelled into my final garment design. After my initial research I was able to go to charity shops with a list of key design features, fabrics, detailing and colours that I needed to look for in order to find pieces that would make the most effective and accurate final piece for the trend. I am happy with the garments that I picked out as I feel they have a range of design features, textures and fit but can work well together to create a garment for Traditions Reformed.
I have created a page for each garment in my sketchbook which each shows a fashion sketch and then a hand-drawn technical flat for each piece. I have also added some brief annotation to each page describing the fabrics, fit and decorative features of each. A chiffon shirt dress with belt and paisley/baroque print, a white chiffon kimono shawl with eyelash lace trim, and a white cotton strapless dress with floral lace trim and peplum-style overhang bodice.
This week I also began planning the development of these garments three-dimensionally and how I will change them into a final design. These pages are shown after some responses to some of my own photographs from a V&A exhibition, with squares of acetate over photographs of the pieces on the mannequin (moulage) detailing how I might alter the dresses and kimono, taking into account the design features and style identified in research. A notable part of this development is the potential use of Chinese lettering, which I would probably create using free machine embroidery. I’d thought about using the language as a motif not only because it’s an unusual feature that creates interest but also because it creates a link between the Asia Pacific element of the trend that I described. I decided to simply translate the phrase ‘Traditions Reformed’ to keep the text relevant, but may change this to something more meaningful at a later date if I go on to use the technique.