Outfit Four

For one of my final agreements I have mastered in shibori, this time using shibori and stitch to capture the decorative and detailed mark making influenced from above. 

stitching up the silk before dying

dyed and ready to unpick

Tuck added in side seam to create dramatic garment shape and distort print 

construction details

double turn hem

In order to highlight and contrast the geometric, detailed print explored on the above top. A long fitted pencil skirt made from pink foiled leather will underlay to complete the outfit. 

Working out the pattern pieces 

creating a contrast between two textured leathers 

centre back concealed zip fastening 

waist band and lining 

Continuing with the idea of using shiny and matt textures together this garment explores detailed repeat pattern and block distressed fabrics. Working from geometric decorative, baroque prints photographed from buildings such as the scare Coeur and Notre Dam. Shibori with stitch was developed from previous garments and used to capture a highly complex pattern. The processes of using shibori and stitch gave the opportunity to create a detailed and controlled pattern that could be recreated. This was highly successful using a small tension stitch stopped the dye from seeping into the surface fabric, leaving a processional finished print when unpicked.

The idea of distressing and creating holes upon luxurious silk to create a pattern, created an uneasy contrast. Playing on the idea of how certain luxurious fabrics are exported to be treated. As well as recapturing the atmosphere of the outside worn distressed architecture of the scare Coeur, in comparison to the grand and decorative interior inside the building. The idea that two completely opposite atmospheres where in relation to one building was something I wanted to highlight through out the collection. 

The print itself is geometrical and controlled however due to the method of production still captures a hand touch processes across the surface of the fabric. This is shown through the fading and blending of certain areas where the dye has run and bleed, representing the worn and dilapidated architecture  of the sacra Coeur. The pattern itself is very three dimensional and overlaying due to the contrast between the block folding and stitch marks. 

Continuing with the same production method, the fabric was dyed and printed first, using the finished fabric and a mannequin to work out the pattern. An open slip neck line makes the top practical with out interrupting the flow or repeat of the pattern. In order to emphasizes ripples of change in direction symmetrical tucks have been added into the side seams in order to create a more dramatic garment shape. Filling the criteria of my market research. The top itself has been double turn across the built in sleeve and hem, and constructed with a built in facing along the neck line. Finished to a high standard with out interrupting the print. When adding the built in facing alterations had to be added to the shoulder seam and neck line due to there not being enough room to turn the raw edges, therefore an extra bit of fabric was used to over and finish off the seam. If I was to re do this again I would curve the facing into the shoulder seam. 

In contrast with the detailed, decorative pattern a slick, fitted leather pencil skirt was added to the outfit. Made from foiled pig leather a crinkled, worn texture was captured. Creating a contrast between the matt texture of the top against the shiny leather skirt. The colours in particular work well to highlight the detailing in the top and draw focus to the busy surface.

The skirt itself has been slip into two section the top half made from metallic leather and the bottom foil. This was due to the short supply of leather, however works well to change the texture of the skirt, adding key feature and highlight construction skills such as panelling and top stitch detail.

In order to make the skirt practical a high split was added to the centre back, joined to a built in lining to finish of the skirt to a professional standard. Due to the lining being slightly to big in the width, when on a hanger the lining comes out of the slit. To re correct this a small tuck was added to the side seams in order to hold the lining in place. This has improved the problem however there are still traces of the lining appearing, in order to avoid this consideration of materials need to be considered, such as the stretch of the fabric to avoid it from stretching when being stitched. 

Working on this garment I particularly enjoyed working with shibori, although the process of stitching and unpicking is time consuming the result is worth it and shows of my skills as a textile designer.