Stitching Techniques
Week one: Exploring Pongee scraps, applications on the body and how repetition can enhance and alter the state of the fabric
Pongee scrap material altered with repeated use of pint tucks - vertically & horizontally
Larger volume collected when creating varied pin tucks that joined at a common point (almost like a meeting of darts and pin tucks) forming fabric over lay and structured point
Pongee fabric hugs the front bodice and accentuates bust and waist points
DIY cording made from heavier weight Ponjee fabric, inserted and sewn between two layers of fabric with the bottom left open in order to pin and roll as shown above
Heavy weight Pongee sample anchored at the bust
Light weight Pongee samples anchored at the shoulders and waist
Herringbone stitch sample on heavy weight Ponjee anchored at the neck
Pongee dart x pin tuck sample anchored on the bust
Ponjee rounded pin tuck sample anchored on the shoulder
Ponjee | Pin tuck x Dart sample
Ponjee | Rounded Pin tuck sample
Ponjee | Pin tuck x Gathering sample
Ponjee | Pin tuck x fabric cording sample
Ponjee | Pin tuck sample
Ponjee | Herring bone stitch sample
Ponjee | Pad stitch sample
Ponjee | Running stitch sample
Viktor & Rolf
.
Viktor & Rolf .
SS 2020 collection draws on volume and texture that drapes, hugs and accentuates the body and produces new proportions to enhance the figure.
SS20 Viktor & Rolf: Horizontal gathers used to tier the volume of the dress, enhancing form and variations of volume
SS20 Viktor & Rolf: Strong shoulder puffs, hugs the sleeve and drapes diagonally over the bust - could potentially be recreated through the pleat sample
SS20 Viktor & Rolf: Exaggerated gathers and repetition of line creates waterfall effect on sleeves, encompassing the whole body - Gathering the Pongee pin-tuck sample could create an even more exaggerated effect
Marianne Brandt
.
Marianne Brandt .
German multidisciplinary artist and product designer, studied at the “Bauhaus art school in Weimar and later became head of the Bauhaus Metall-Werkstatt in Dessau in 1927” . Brandt created a series of homewares that emanate the design intention of form follows function. Where aesthetic components are of direct intention for functionality of a product. This same design intention becomes apparent in my own swatches and their “functionality” on and off the body, as they each hold a directed intention or suggested outcome.
Marianne Brandt Ashtray 1924
Marianne Brandt Ashtray 1924
Marianne Brandt Teapot 1924
Marianne Brandt, Hin Bredendieck Kandem Bedside Table Lamp 1928