A A
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App_id: 240314Name: MARGARITA BENITEZ
Collaborators: MARKUS VOGL
CountryRegion: US
1
App_id: 240314Name: MARGARITA BENITEZ
Collaborators: MARKUS VOGL
CountryRegion: US
Coded :: Fashion is a project at the intersection of new media and
fashion design. It investigates the role of the
designer and consumer and how these roles can be intertwined
through interactive coding experiences. Coded ::
Fashion is a series of computer applications that manipulate
imagery and prepares files for prêt-à-faire ready to
make. The first application takes an image from a camera external
webcam or built-in and manipulates the input
imagery based on the computer code a series of scripts composed by
the authors. The software manipulated
image gets inserted into a custom sewing pattern of a shirt and is
then output as a vector pdf file that can be
loaded into a laser-cutter to be cut into fabric. The resulting
one-of-a-kind lasercut pattern pieces are then sewn
into a unique garment. The Coded :: Fashion application is
currently written in an open-source prototyping software
called Processing. The current pre-alpha version requires images to
be postprocessed to achieve proper cropping
and insertion into the sewing pattern. Development on the full
alpha version is ongoing and mobile versions of
the software are also being developed concurrently.The context of
the researchdesign problem includes any
research questions or hypotheses or unique materialsprocesses:
Using the emerging intersections between
code development and interactive cocreation processes, what kind of
experiences can be generated to address
alternative design and production experiences in fashion? In Coded
:: Fashion, the co-authors hypothesize that
by utilizing ludological and interactive experiences, one can
create a richer connection to the current design and
production methods of fashion. Coded :: Fashion is publicly
available custom coded software that will be interacted
by the user to generate a new type of fashion, one which we call
prêt-à-faire ready to make. Prêt-à-faire makes
a commentary on the current state of design and production within
the fashion industry and presents an engaged
alternative for a more sustainable cycle. The Coded :: Fashion
project posits merging the role of the consumer with
that of the designer to co-create through direct interaction. The
customer engages with the webcam interface to
generate imagery to be interpreted by the application. As a result,
the customer develops a unique emotional bond
with the apparel product through having participated in the
creative experience. Other research questions we are
interested in answering through the Coded.
Coded :: Fashion project are:
-Usability testing of the User Interface – User Experience
qualitative testing
-How do the users feel about the design limitations?
-To what extent would the user like to participate in?
-What can we do to create a richer interface?
-Does the technology augment or detract from the interaction?
-Is there any demand for the prêt-à-faire line to be distributed
just as the pre-sewn materials for the consumer
producer to assemble?
002
How the researchpractice has been developed; including the
investigative methods used to answer
the question andor create new or novel insights:
In our collaborative praxis we explore interfaces and create
interactive art. We furthered our
exploration into user interactions and it''s methodology by
introducing a guided fashion design
methodology that allows the participant to make design choices for
a particular garmentproduct.
Although the design choices are limited, the user''s experience of
creating either a print pattern or
laser cutter pattern for a garment nurtures the creative desire
built into our human drives. Upon
completion of the design interaction, if the user is satisfied with
the artistic choices, the product can
be sourced and produced uniquely and locally within a few days. The
user can be seen as a creator
co-creator and as a result of this role feels emotionally
attached to the interactive experience and
to the personalized unique design of their garment. The gathering
of local data allows us the insight
of what level of design involvement the common user wants to
participate in. In addition, the user
involvement data via qualitative feedback will be able to be used
to improve the user interaction and
allow for more user input. This new form of user input and direct
participation in the design process
by the eventual consumer leads to a new form of garment creation
called ready to make prêt-à-faire.
The main findings, insights or conclusions presented in the context
of the exhibition presentation:
The exhibition will present the collective findings of our local
installation of Coded :: Fashion at a
local retail location. We will show pieces produced at the store,
share feedback and data on the
process and will show the software and operation. The exhibition
potentially could provide us with a
setup of Coded :: Fashion to demonstrate the interactive experience
in creating the prêt-à-faire line.
In the event of unforeseen circumstances with the interactive
installation, we are planning to show
a recorded video of the user experience next to examples of the
finished product.
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App_id: 242995
Name: JACQUELIN E EBURRIS
CountryRegion: US
Email: burrisje@ucmail.uc.edu
Website: www.uc.edu
iGeneration Z Abstract
Generation Z are fully integrated into technology, multi media
and the World
Wide Web. The Apple headphone is extremely iconic and recognizable
for its
color and design.
The purpose of this piece was to create a garment that symbolized
the
permeating affect of technology in academy. The hooded sweatshirt
is a
universally recognizable colligate garment. The Apple headphone is
iconic
to Generation Z. The knitted structure created is a continuous
formation
of interlocking loops. This embodies the constant interconnecting
flow of
technology. Similar to the stability of a knitted garment if the
connection is
broken society will unravel.
The initial research into the development of the process began with
using
hand knitting needles. Several factors prevented this method from
being
successful: width, weight, stability, and the twisting action of
the headphone. I
created a grid on medium density fiberboard with the headphones
interlacing
each pair to make a woven panel. The final woven panel had poor
flexibility
and low stability. The final process developed uses the ribber bed
of a hand-
knitting machine to help support the weight of individual pattern
pieces. Each
headphone would be warmed in a heating pad to increase the
pliability and
prevent the formed loop from slipping out of the needle head. Using
a latch
tool and angled hook each loop is formed by hand.
Materials Used: 700 pairs Apple Headphones.
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App_id: 247547
Name: JACQUELINE E BURRIS
CountryRegion: US
Email: burrisje@ucmail.uc.edu
Website: www.uc.edu
Paper or Plastic: Don''t Judge a Bag by its Content
Leather Handbag Collection Abstract
The paper and plastic bags available at the local grocery
are
excellent examples of universal design. Their only downfall is
the
materials used in its manufacture. I have recreated each of
the
grocery bags in leather using various techniques to emulate
the
paper and plastic textural surface. White Plastic Bag: To give
the
effect of creases in the plastic, the leather was repeatedly
soaked
and dried in a tumble drier and then stretched. The ''Thank
You''
image was screen printed on to the leather using a homemade
screen. Brown Leather Bag: Various weights of leather had
been
sampled to imitate the sharp corner creases and folds found
in paper. I then beat the leather with a wooden rolling pin
to
increase pliability. I used a vegetable dye in layers to
create
shadows in the leather creases to emulate the paper.
008
CountryRegion: US
Biz-name:UNIVERSITY OF MINNESOTA
Email: ebye@umn.edu
Visual Interruption
4
App_id: 239964Name: ELIZABETH BYE
As with many designs, the inspiration for Visual Interruption
started with the fabric. An
original print was developed during an exercise to experiment with
novel stripes. The
purpose of this research was to explore how the content of the
print informed the shape
and structure of the final garment. The original color pallet of
the print was red and black,
but it became evident that the desired depth of color could not be
achieved despite multiple
printing variations. Thus the limitations of the printing
technology initiated the first point
of departure. Numerous colorways of the desired stripe were
developed, and allowed the
designer to focus on the content of the print. Up to this point,
the print had been interpreted
as ''an interesting stripe repeat'', but in the process of color
manipulation, it became broken
blocks. My frame of reference made a leap to Duchamp''s Nude
Descending a Staircase No.
2. The broken, yet fluid movement in the Cubist''s work provided
the insight for the shape
and structure of this piece.
With the raw elements in place, I began to sketch as I studied both
the image and the print.
Stepping back from the detail, I realized that Duchamp''s
perspective of the nude is from the
side of the body. This was the second point of departure when I
connected this to Alexander
McQueen, who often started his work by studying the side view of
the female form.
Working on a half-scale form, I used this side perspective to
develop ideations. I worked to
create shapes that would appear broken and fluid at the same time.
Stepping back again,
I returned to the print and discovered that manipulating the stripe
pattern in the context
of the shapes I was creating greatly enhanced the sense of
brokenness by providing visual
interruption.
The content of the print informed the shape and structure of the
final garment both visually
and by providing a link that offered the designer a new perspective
during the design
process. By intentionally shifting the focus between a broad or
common point of view,
and unobserved details or a novel perspective, the designer can
encourage insight and
innovation. A change in color highlighted unnoticed elements of the
print. Viewing the body
from the side presented an approach that departs from the standard
front and back. Moving
between shape and surface suggested an approach to visual
interruption. Duchamp''s Nude
Descending a Staircase, No. 2 was originally rejected for display
when the committee stated
"A nude never descends the stairs—a nude reclines."1 A change in
perspective needs to be
an essential approach to design, and the impetus for this change
can originate from the
surface of a print.
Visual Interruption is composed of silk crepe de chine.
1. Retrieved 1012011 from
http:www.philamuseum.orgcollectionspermanent51449.html
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5
App_id: 242947
5
App_id: 242947
Waist Not Want Not
The design problem of "Waist Not Want Not" was to create
an integrally hand knit tunic inspired by using the waist as
a point of body articulation while maximizing sustainable
design practices. Full fashioned garments, commonly used
in knitting, create shaped garment pieces which are then
sewn together; however, sewing can be eliminated from the
production process by using integrated knitting Rissanen,
2008. In addition to the integral process, natural dye
techniques Crook, 2007; Klos, 2004 were used to highlight
the sustainable practices used in the design process Haar,
2010. To this end, the investigative method involved a
combination of: the relationship of body measurements to
patterning; the use of stitch designs and gauges to create
shaping variation; as well as integral processes and natural
dyeing techniques to produce a sustainable garment.
One of the most common methods of designing hand
knit patterns is Elizabeth''s Percentage System, or EPS
Zimmerman, 1971, which uses the bust as the primary
measurement from which all other points of width
measurement are determined. Unless significant pattern
alterations are made, the EPS method results in garments
with little shaping; these shaping alterations often involve
the use of full-fashioning, which requires seaming and
therefore results in the creation of additional waste
material. This design sought to adapt the EPS to account
for waist, rather than bust measurements to create a fitted
garment while maintaining an integral knitting process
Rissanen, 2008. Using the EPS as a point of departure
the waist measurement of the model was the only width
measurement taken to complete the garment. All other
measurements were calculated from a percentage of the
initial measurement.
The dress was created by hand knitting using size seven
4.5mm needles from the neckline to the lower edge. Top-
down knitting in the round is preferable to more traditional
methods as the result is a more accurately fitted garment
Walker, 1972. Additionally, the top-down method allowed
for the alignment of the sleeve and body stitch patterns
and for the complete elimination of seaming in the
garment. The bateau neckline and raglan sleeve shaping
Name: KATHRYN EASON
CountryRegion: US
Biz-name: WEST VIRGINIA UNIVERSITY
Email: kathryn.eason7@gmail.com
were chosen to more effectively highlight the garment
silhouette and further emphasize the waist shaping. A
cabled pattern was selected for the waist. Corresponding
stitch patterns of varying gauges were then selected to
alter shaping according to measurements determined from
the altered EPS. This eliminated the need for increasing
or decreasing stitching in the body of the tunic. Garment
length was determined during the knitting process as top-
down integral knitting allows for the fit to be checked
on the model throughout the process rather than upon
garment completion. Once the tunic was completed, edge
stitching was added through knitting, rather than seaming,
techniques in order to preserve the integral process.
One-hundred percent wool yarn was chosen for the project
because the fiber elasticity lent itself to the shaping
process
used in the design; the fiber takes dyes readily; and wool is
one of the most sustainable natural fibers Lurot, 2011. A
four-step dye process was undertaken to create the final
garment. Prior to the addition of edging, the garment was
dyed using ombré-inspired techniques. Color variation was
achieved by altering the pH levels of a red cabbage dye bath:
acidic baths resulted in fuchsia; neutral baths created blue-
violet; and alkali baths led to shades of green. The yarn
used
in the edging was also dyed in the cabbage baths using an
ikat technique to create variegation in the yarn,
highlighting
the unique properties of the dyestuffs used. Following the
cabbage process the tunic was over dyed using turmeric to
create a vibrant yellow with subtle color variation from the
initial baths. Once the dye processes were completed the
edging was created and knit directly into the body of the
garment.
The main findings of this research problem were that by
using integral hand knit processes utilizing stitch variation
and a modified EPS method a fitted garment could be
created. Future design problems could expand upon these
findings by modifying: points of body measurement;
stitch variation to alter garment silhouette; and exploring
additional shaping techniques possible in the integral
process.
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App_id: 247503
Name: XIA GAO
CountryRegion: US
Biz-name: MICHIGAN STATE UNIVERSITY
Email: gaox@msu.edu
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7 7
App_id: 240484
Name: KIM H HAHN
CountryRegion:US
Biz-name: KENT STATE UNIVERSITY UNIVERSITY OF WISCONSI-EAU
CLAIRE
Email: khahn6@kent.edu
Ebb and Flow
This collaborative design project used repurposed fabric
in a way that depicts the elemental cycles of nature''s
opposing elements. A fiber artist making upcycled
fabric out of 50 years old saris and an apparel clothing
designer in search of innovative fabric, share a quest:
Prolong the life of post-consumer recycled clothing. The
sari was used directly pants, as well as integrated into
a new and coordinated fabric that pays homage to the
traditional dress of the East. Additionally, the overall
design of the garment reflects the dynamic interplay
opposing elements: air and earth, water and fire, new
and old and life and death. Finally, in the execution of this
wearable art came the very embodiment of the garments
inspiration with the death of one garment to give life to
another.
The fabric designer created two nuno felt pieces that
harmonized with the sari; the clothing designer created
an outfit infused by all of the fabrics. Certain parts of the
felted fabric gave inspiration to the clothing designer for
the pattern pieces.
Nuno felt is a contemporary approach whereby fiber
mostly wool is manipulated through a fine silk-based
weave creating a lightweight material that has soft drape
and flexibility. Pattern pieces for the cocoon jacket, top
and pants were developed using draping and flat pattern
manipulation techniques.
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App_id: 240393
Name: JANET HETHORN
CountryRegion: US
Biz-name: DEPARTMENT OF ART UNIVERSITY OF DELAWARE
Email: jhethorn@udel.edu
8
App_id: 240393
Name: JANET HETHORN
CountryRegion: US
Biz-name: DEPARTMENT OF ART UNIVERSITY OF DELAWARE
Email: jhethorn@udel.edu
ReMake
Context of design problem:
This is the third coat in a series of three that I designed in
order to
explore how to best source and utilize segments from used
clothing
in ways to create unique contemporary coats. It was my
intention
for the resulting designs to highlight the process and possibility
of
re-thinking, re-using, and re-making as an approach to
sustainable
design.
Thrift stores and used clothing sources are full of garments that
were
discarded and donated by their original owners because they
no
longer met their needs and preferences. Many of these items are
still
in great shape but the fit, fabric, proportions, style, and details
may
represent a time past that is out of step with current fashion. I
found
garments from used clothing sources to contain ideal materials
for
creating new designs, thus creating extended life through
"remaking".
Research development and methods:
I shopped used clothing sources for pieces that I could combine
in
new ways to make a current coat from. In each piece, I looked
beyond
the existing style, with an eye for fabric quality and segment
shape
potential for a new design.
1 Fabric quality
It is critical to look to the fabric as a raw source; considering
color,
texture and other visual definers, much like shopping a fabric
market.
Once drawn to the look, I next examined the remaining wear,
fiber
content, and functional potential of the fabric.
2 Segment shape
Considering the potential for transforming shapes of garment
segments requires imagination. It is necessary to visualize how
the
segments and distinctive shapes might be used in a different
way,
such as a pant leg being used as a sleeve, a blouse turned inside
out
to serve as a lining, or sleeves and upper segment of a sweater
sewn
as a long tube scarf.
The first item that inspired this series was the sturdy and quality
zip-
out liners found inside of heavy storm coats. I immediately saw
the
potential for the lining to serve as a long vest for an external
design
feature. This outer layer, secured with a hand embroidered
"feather
stitch", is a unique and unexpected design feature that
highlights
the usefulness of an inner functional garment
segment as an outer decorative element.
From this start, I gathered additional garments,
based on function and aesthetic potential of
the fabric quality and segment shapes. ReMake
was created with the following pieces:
. Body of coat: two men''s suit coats, zip-out
liner from a storm coat, man''s necktie
. Sleeves: corduroy skirt, utilizing the hip curve
from the side seam to shape the shoulder curve
. Buttons: from jackets used
. Collar and cuff: from woman''s sweater
. Lining: from a woman''s blouse
. Scarf: man''s sweater sleeves
. Pockets positioned in the lining and lower
level, tucked under the outer zip-out liner
. Techniques included the intentional
placement for use of garment shape, details
and warmth function as well as bound
buttonholes and hand embroidery for joining
and trim.
Findings and conclusion:
The resulting coat is an example of what can
be created when sourcing and designing from
used clothing. By examining the potential
of fabric quality and segment shapes from
original garments, unique solutions may be
found. Skirts can be used for sleeves, discarded
blouses are a simple lining solution, great
sweater fabrics have many applications from
trim to scarves, pockets can be repositioned for
new function, and detailed stitching can join
and create surface interest bridging disparate
segments. Through re-thinking how we source
and re-use materials, innovative solutions are
possible.
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App_id: 247520
Name: YOU JIA
CountryRegion: CHINA
Biz-name: BEIJING INSTITUTE OF FASHION TECHNOLOGY
Email: 739506582@qq.com
Fangyuansheng 3:
The Mogao Caves, or Mogao Grottoes
also known as the Caves of the
Thousand Buddhas and Dunhuang
Caves form a system of 492 temples
25 km 16 mi southeast of the center
of Dunhuang, an oasis strategically
located at a religious and cultural
crossroads on the Silk Road, in Gansu
province, China. The caves contain
some of the finest examples of
Buddhist art spanning a period of 1,000
years.The first caves were dug out 366
AD as places of Buddhist meditation
and worship. The Mogao Caves are the
best known of the Chinese Buddhist
grottoes and, along with Longmen
Grottoes and Yungang Grottoes, are
one of the three famous ancient
Buddhist sculptural sites of China.
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App_id: 243022
Name: TRACI A LAMAR
Collaborators:YANXUE MA
CountryRegion: US
Biz-name: NC STATE UNIVERSITY
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App_id: 243022
Name: TRACI A LAMAR
Collaborators:YANXUE MA
CountryRegion: US
Biz-name: NC STATE UNIVERSITY
Email: traci_lamar@ncsu.edu
Knit Dress in Ivory: An Exploration in Integral
Knitwear Design
Integral and seamless knitting that can create a complete
garment
with minimal or no cutting and sewing provides many
opportunities
for designers. But, innovative knitting technology and advanced
CAD
systems introduce unique challenges. Currently, there is no
recognized
system for creating unique integrally knitted fashion garments
from
idea generation to knit production. Creation of these products
typically
requires the skills of both aesthetic designers and technical
designers,
communication between whom has been a bottleneck in knit
garment
design Eckert 2001. The purposes of the study were to provide
a
fundamental understanding of applying knitting techniques to
knitted
fashion products, and to explore the process for integral
knitwear
design. This research investigated how knitted fabric
structures
could be juxtaposed to provide shape and texture to a fashion
item.
A designer''s perspective workflow for creating seamless
knitted
fashion garments was developed, and the knowledge base needed
for
successful execution of conceived designs was defined.
To build a knowledge base that describes how knitting techniques
and
knitted structures influence pattern development and knit
garment
size, a physical library of samples knitted with various yarn sizes
and
different structures were created. Measurements of
two-dimensional
and three-dimensional shapes obtained in these samples were
collected. Ultimately, the dress and overdress were knitted of 82
c.c.
100% cotton yarns using full-fashioned and whole garment
knitting
techniques. As can be seen in the images shown in Figure 2,
variations
in knitting structure provide shaping at the waist and ruffled
effect
at the front of the overdress as well as aesthetic design
elements.
The finished pieces were embellished with manual yarn
insertion
techniques. The research employed Shima Seiki''s SDS-ONE
KnitPaint
software and Shima Seiki''s SES124-S and Shima Seiki''s SWG-V
7
gauge.
Based on this work, a framework of fashion knitwear design
was
established See Figure 1. Figure 1 shows the workflow of
creating
an integrally knitted fashion garment and the knowledge
building
for designers. The design process integrates seamless
knitwear
style development, optimal yarn selection, knitted structure
design,
knitwear size and shaping, pattern making in CAD system, CAM
programming, and knit production. Decisions at each step
influence
the variables of following steps. For example, selected style has
an
impact on optimal yarn selection, and the yarn size also affects
sizing
021
of the knitted garment. Additionally, this research
also identified knowledge areas supporting
creation of integrally knitted fashion garments,
and techniques for building the knowledge base.
In the research, new findings about sizing
of seamless knits with different structures
and techniques are important to shape the
garment on the machine. The workflow that
was established in this research can be used by
designers or technical designers to create unique
knitted fashion garments.
Reference:
Eckert, C. 2001, "The communication bottleneck
in knitwear design: analysis and computing
solutions", Computer Supported Cooperative
Work, vol. 10, pp. 29.
Shima Seiki 2004, "Shima Seiki Instruction
Manual".
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App_id: 240476
Name: ZHOU MENGJIA
11 CountryRegion: CHINA
Email: minda_zm@163.com
Purple Dream—design elements of Dong
The inspiration of this design comes from the
accordion pleated skirt of Dong woman living in
south China. There is a kind of floating esthetic in
the accordion pleated skirt of Dong woman. The
accordion pleated skirt selected as material of this
design, which is purple with metal gloss, has the
traditional and fashion element at the same time,
and makes a mysterious atmosphere over this
design. The Characteristic of this design is the using
of the accordion pleated skirt of Dong people.
Material of this design is selected from the accordion
pleated skirt, embroidery, silk and raw silk. Technique
includes press-pleating, dyeing and so on.
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App_id: 247545
Name: HENRY NAVARRO
Collaborators: MIRIAM ARENTZ
CountryRegion: CANADA
Email: hnavarro@ryerson.ca
Website: www.henrynavarroart.com
SituOzuOne: As Site-specific Fashion
Collection By Prof. Henry Navarro
As a multidisciplinary artist working in the overlapping
disciplines of fine
arts and fashion design, my creative work encompasses both the
practice
and theory of fashion, stressing its role as a form of visual
culture. Through
fashion-based installation art, site-specific collections, and
fashion-asperformance-
art pieces, I use fashion design as a vehicle for impermanent
public art. Most recently, I have focused on creating site-specific
fashion
collections addressing social concerns. Here I am presenting the
research,
design and production of a site-specific fashion collection
entitled
''SituOzuOne'' and completed in August of 2010. The main goal of the
project
was to call attention on the historical, cultural and aesthetic
values of Savina
Monteleone, a rural town located in a mountainous region of Central
Italy.
In collaboration with a German jewelry designer I designed a
capsule collection
informed by the geometric patterns and the color palette that
characterize
the agricultural landscape. The resulting garments and accessories
were
fabricated on site out of locally sourced fabrics and worn by
non-professional
models during a fashion show open to the public. As the project
progressed,
willingly the people from Sabina Monteleone became direct
participants and
co-creators. This popular response showcased the sense of ownership
and
empowerment generated by ''SituOzuOne''. By embracing the project
they
demonstrated the capacity of fashion design as a vehicle for
impermanent but
immediate public art. The fashion show of ''SituOzuOne'' generated a
record
public attendance for any art event at the Officina Zone Umane, the
Art Center
sponsoring the project.
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027
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App_id: 242999
Name: HENRY NAVARRO
Collaborators: MIRIAM ARENTZ
CountryRegion: CANADA
Email: hnavarro@ryerson.ca
Website: www.henrynavarroart.com
SituOzuOne: As Site-specific Fashion
Collection By Prof. Henry Navarro
As a multidisciplinary artist working in the overlapping
disciplines
of fine arts and fashion design, my creative work encompasses
both the practice and theory of fashion, stressing its role as
a
form of visual culture. Through fashion-based installation
art,
site-specific collections, and fashion-as-performance-art
pieces,
I use fashion design as a vehicle for impermanent public art.
Most recently, I have focused on creating site-specific
fashion
collections addressing social concerns. Here I am presenting
the research, design and production of a site-specific
fashion
collection entitled ''SituOzuOne'' and completed in August of
2010.
The main goal of the project was to call attention on the
historical,
cultural and aesthetic values of Savina Monteleone, a rural
town
located in a mountainous region of Central Italy.
In collaboration with a German jewelry designer I designed
a
capsule collection informed by the geometric patterns and the
color palette that characterize the agricultural landscape.
The
resulting garments and accessories were fabricated on site
out of locally sourced fabrics and worn by non-professional
models during a fashion show open to the public. As the
project
progressed, willingly the people from Sabina Monteleone
became
direct participants and co- creators. This popular response
showcased the sense of ownership and empowerment generated
by ''SituOzuOne''. By embracing the project they demonstrated
the capacity of fashion design as a vehicle for impermanent
but
immediate public art. The fashion show of ''SituOzuOne''
generated
a record public attendance for any art event at the Officina
Zone
Umane, the Art Center sponsoring the project.
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App_id: 242970
Name: LINDA M OHRMCDANIEL
CountryRegion: US
Email: lohrn@kent.edu
Website: www.lindaohrn.com
From Maternity to Motherhood
What bonds are stronger than the bonds between a mother and
a child? This dress and jacket was designed as a maternity
outfit
that could also be worn after the baby was born. It was inspired
by
many of the thoughts you go through during a pregnancy and
the
strong connection that a mother has to her child whether it is in
the
womb or already born. When looking at the ensemble the jacket
represents the mother and the dress represents the child. As
you
grow during pregnancy you become more and more aware of that
beauty comes from within. To reflect the inner beauty holes
were
cut in the jacket to let the inside show through. In the dress you
can
see the connection to the mother through the subtle lines of the
tie
dye that follow the pierced lines of the bottom band in the
jacket,
there are also white leather "sequins" that represent the
actual
inheritance a child will carry from the mother.
The leather in the jacket was punched with 3 different size
hole
punches to create the pierced design of the circles before it
was
pieced together. The rayon knit dress was tie dyed to match
the
blue of the lea
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