Tuesday, 30 November 2010

Module three chapter 12

Three artists

Zandra (Lindsey) Rhodes, ,
(born 19 September 1940in Chatham , Kent, is an English fashion designer. Zandra Rhodes was introduced to the world of fashion by her mother. Rhodes studied first at Medway and then at the Royal College of Art in London. Her major area of study was printed textile design. In 1969, Rhodes established her own retail outlet in the fashionable Fulham Road in West London. Rhodes' own lifestyle has proved to be as dramatic, glamorous and extrovert as her designs. With her bright green hair later changed to a pink and sometimes red or other colours, theatrical makeup and art jewellery, she stamped her identity on the international world of fashion.
Rhodes was one of the new wave of British designers who put London at the forefront of the international fashion scene in the 1970s. Her designs are considered clear, creative statements, dramatic but graceful, bold but feminine. Rhodes' inspiration has been from organic material and nature. Her approach to the construction of garments can be seen in her use of reversed exposed seams and in her use of jewelled safety pins and tears during the punk era.
Rhodes designed for Diana, Princess of Wales, and continues to design for royalty and celebrities. She notably designed several of famous costumes for Freddie Mercury of Queen. Over the years, she has had many academic and professional honours bestowed upon her and were made a Commander of the British Empire by the Queen in 1997.
The San Diego Opera commissioned her to design the costumes for her first opera, The Magic Flute, in 2001. Rhodes continued her association with the San Diego Opera in 2004 when she designed the set and costumes for Bizet's Les pêcheurs de perles. She designed for Verdi's Aida at the Houston Grand Opera and English National Opera. Rhodes is the founder of the Fashion and Textile Museum in London which was opened in May 2003. In November 2009, Zandra Rhodes was appointed Chancellor of the University for the Creative Arts, one of the UK's newest universities, and only the second to focus specifically on art and design.

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A cloth from autumn/winter collection of this year. I like the transparency of this cloth. It
remembered me on the clothes which I sewed .for me at the end of the sixties

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                                                    This is like a complex cloth quilt

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Zandra Rhodes final drawings for characters in the opera The Magic Flute: Queen of the Night, Slave,Monostatos
References: http://www.zandrarhodes.com/collections/

Deidre Hawken
Deirdre Hawken is a designer / maker specialising in headpieces. She trained in theatre design
at Central / St Martins. She designs and makes couture headpieces using traditional millinery
techniques, which are sold in the UK and abroad. She has exhibited her work widely within the UK and internationally, including the Victoria and Albert Museum London, Crafts Council London, The Royal Festival Hall London, The Kelvingrove Museum Glasgow and at Julie Artisans' Gallery in New York. Her work is in various public collections including the Victoria and Albert Museum London, the Philadelphia Museum of Art USA, and the Hat Museum UK. She is on the photostore of selected makers at the Crafts Council.
Deirdre is also a fellow of the Society of Designer Craftsmen and a fellow of the Royal Society of Arts
Deirdre has created hats inspired by the recipes of the chef Anton Mosimann, they were shown at a lunch at his restaurant in Belgravia on the 21st April 2010
Deirdre has a hat featured in the exhibition 'Hats, an Anthology by Stephen Jones'. It will start touring the world for the next six years, starting in Australia from March 2010 Deirdre has been awarded an artist's gallery space at the Knitting and Stitching Show 2010 Alexandra Palace, London 7th until 12th October 2010

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                             a hat which remembered me on the theme of module III


Paul Poiret (20 April 1879, Paris, France - 30 April 1944, Paris)
was a French fashion designer. His contributions to twentieth-century fashion have been likened to Picasso's
contributions to twentieth-century art.
 His parents, in an effort to rid him of his natural pride, apprenticed him to an umbrella maker. There, he collected scraps of silk left over from the cutting of umbrella patterns, and fashioned clothes for a doll that one of his sisters had given him. While a teenager, Poiret took his sketches to Madeleine Cheruit, a prominent dressmaker, who purchased a dozen from him. Poiret continued to sell his drawings,
eventually to major Parisian couture houses, until he was hired by Jacques Doucet in 1896.His
first design, a red cloth cape, sold 400 copies. Poiret established his own house in 1903, Poiret's house expanded to encompass furniture, decor, and fragrance in addition to clothing. In 1911, he established the company Parfums de Rosine, named for his eldest daughter. Poiret's name was never linked to the company, but it was effectively the first fragrance launched by a designer.
Poiret's major contribution to fashion was his development of an approach to dressmaking centered on draping, a radical departure from the tailoring and pattern-making of the past. Poiret was influenced by antique and regional dress, and favored clothing cut along straight lines and constructed of rectangles.] The structural simplicity of his clothing represented a "pivotal moment in the emergence of modernism" generally, and "effectively established the paradigm of modern fashion, irrevocably changing the direction of costume history. Poiret's break with the past was so great that he might better be called fashion's revolutionary, the man who brought modernity into being. Dispensing with social mores and tradition, he changed not just how women dress, but how they move and live.
Paul Poiret is best known for jettisoning the corset, thereby liberating women from the figuredistorting silhouettes that had existed in one form or another since the Renaissance style. In both Europe and the United States, Belle Epoque style was notable for the pinched, swanlike curves produced by its corset . Poiret, who rejected the corset around 1905, was not the only designer to do so; social reformers had begun calling for the end of the corset by the late 19th century, and other designers, including the influential Madeleine Vionnet, had also begun experimenting with natural silhouettes. But Poiret gets credit for popularizing the new look largely because of Denise, Poiret's wife and muse who was his best advertisement. Her slim body suggested a new sort of woman, unburdened and ready to move.

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                       Denise Poiret, 1913. Photograph by Geisler & Baumann,

Poiret found considerable inspiration for these modern looks in the fashions of the East and the draping of classic Greek statuary—particularly in the loose simplicity of kimonos, chitons, and caftans, all garments that are made by joining flat planes of fabric together into simple geometric shapes. The sculptured gowns of earlier eras often required more than 12 separate pieces of fabric, cut and sewn to follow a woman's corseted curves. Poiret's garments often used only one. This kimonolike opera coat from 1919, for example, is made from one length of cloth that is draped around the body but never divided. In devising these new dressmaking techniques, Poiret altered the way clothes were conceived, initiating the distinction between
traditional tailleur (tailored) looks and the new flou (soft)

Paul Poiret, "Kimino Coat," 1919 (left) and "Théâtre des Champs-Elysées" Dress and "Espérance"  Headdress, 1913 (right). Images courtesy Metropolitan Museum, N.Y.

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Paul Poiret, Fancy Dress Costume, 1911. Images courtesy Metropolitan Museum, N.Y.

References: The Way We Move: How Paul Poiret freed us from the corset, by Josh Patner,
Slate, May 18, 2007
References: http://www.metmuseum.org  Poiret the king of fashion
The Way We Move: How Paul Poiret freed us from the corset, by Josh Patner, Slate, May 18, 2007

Monday, 29 November 2010

module three ch 11

Composite Sheet with Completed Accessory
As you can see in chapter 10 I planned a muff as my third dimensional accessory. My imagine was a modern part with beads, bobbin and hand embroidery and a structrured background of walk wool by machine quilting
At the beginning I looked for my staff of fabrics, cords and buttons which I could choose for my accessory

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my composite sheet with the design development, the patterns for the body muff and the appliqué pieces, with the used yarns, buttons and fabrics .

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                                     The shapes for the embroidery parts, which I cut from dyed cotton and silk

 First I cut the front and back for the muff . The outside parts from the wool and the middle parts from silk and sewed the parts for the front and back. Afterwords I quilted the outside wool sections and the marked piece in the middle for the quiltlines. I appliquéd the dyed fabric pieces with buttonhole stiches and emphasized the edges of the middle part with cords. After quilting the middle piece I mad bobin embroidered spirales and heringbone lines before beginning the beadwork.

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                                        The upper part with bead work and the bobbin embroidery

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   The underneath beadwork with bobbin embroidery and hand stitching beside

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                                                               Overlayered diamond stitches

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                                                          One line with dorset buttons

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                                         tyvek buttons on embroidered background 

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                                                          The dorset button with french knots

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                                                            The finished forground piece

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                                                                   …. and the back part

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                        All had been done also with a little pocket for my purse or my handy

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A look inside with a view on my lining . It's a conventionell cotton fabric with a paisley pattern …also spirales

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The other side with the in sewed cord for the pocket. The lining was very fiddling and I did it by hand sewing

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Me with my muff and my hand find enough space inside
After finishing the design work I got a very clear imagine about my acessory. And so I didn‘t got really problems with sewing and stitching exept the lining because I did the mistake first to cut out pieces and then to embroider. Natural the parts became smaller by quilting and the already cutted lining became to
big and I got problems with taking it in.
My finished work is just I imagine it and I am very happy about the conclusion. It looks very special and modern . It is good to wear as a accessory to protect my hands against the cold of winter and I love it as a very nice ornamental jewellery. If I would make this accessory again, I would cut the shapes for quilting and
embroidery bigger as the designed one , so I would have the possibility for corrections.
 It is my goal to get involved in a design process more playful and first of all don’t take account the thoughts about  the technical implementation
I have noticed that I'm early developing concrete ideas about   my work and there for I tie  myself very early. Then I am  no longer open to variations that might arise from trying

Date when the design work was started: 20.10.2010 completed: 25.10.2010
Date when embroidered item started: 26.10.2010 completed: 28.10.2010
Total numbers of hours spent working on the design work: 10 hours
the embroidery work: 38 hours
Costing fabrics :ca 20 euro
Batting : 8 euro
Embrodery yarns . 20 Euro
Procion MX: 10Euro

Storage of Work, Materials, Tools and Equipment
The design work in process: Ikea storage boxes labeled by their contents The completed design work: The same boxes also labeled by their contents The colored papers are in a ring binder and all papers are scanned
Inks, paints, glues and brushes are stored in several chests of drawers Embroidery yarn are sorted by colors in plastic boxes also the beads and the material for embellishments like tyvek and silk roads The fabrics are sorted by color in my cupboard in my studio The sewing machine is in my studio on the sewing table The electrical equipment like iron and iron table are stored in my shelving system.
Health and Safety Rules Observed
Use care when cutting with a utility knife – use a cutting board to ensure your work does not slip Use the heat gun and paints only with opened window Take a rest after several hours of stitching or sewing. No pins in the mouth Do not rub your eyes with paint on your hands

Tuesday, 9 November 2010

Module Three ch9

Chapter 9 A resolve sample
The starting point for the creativ exspression was first to design lines for machine stitching . I used some dryed twigs on crumpled paper , took a photo from this and edit it with photoshop and selected my lines for stitching.Then I made a sandwich from two layers of different coloured kuninfelt , snippets and organza. I fasted a paper with the the drawn lines for stitching to the background of the beneath kuninfelt and stitched by machine with a multicoloured yarn in the bobbin.After that I filled some parts with granitstitch . I got more texture by treating the kuninfelt parts and organza with a heat gun.By this the sample became yery stiff so I could assemble it with a light panel on the background . If I would put it in a object frame it would look like floating.
I like the texture of the surface. But I didn‘t thought that it became so stiff because I really would like to emphasize the spirales in the bottom with hand stitching. But this was impossible. I broke some needles with several attemps. I know for the next time to stitch first before the treatment with the heat gun.

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   1: the twigs, 2:edit picture,3: the sandwhich of kuninfelt, snippets and organza,4:the stitching lines, 5:the front 6: the back, 7: detail with granit stitch, 8:the finished stitching, 9.-10. the mounted piece, 11: the finished surface

                                                             The finished piece                                                       

Sunday, 7 November 2010

Module three chapter 6-8

Chapter 6 Tassels made by Machine and Hand
Tassels made by hand are my favorite. But quite frankly I am not really a friend of tassels. All together on my black pinboard they look quite nicely and I am happy that this work is done.

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The second and third tassel on the right hand are partly machine made. I made the beads with Fimo for the embellishments of the tassels. The material of the second tassl are remnants stripes of a silkquilt, which I
worked on with my embellisher to get long stripes, than they were plaited 
The little tassels are torned stripes of dyed gauze. The others are a mix of metallic embroidery threads, cotton and silk yarns

Chapter seven simple buttons making
This chapter is an exploration of simple buttons which can be made from three dimensional cores . These constructions will also help to suggest ways in which I can construct shapes for the following exercises. The core for my example are cut from a cardboard and than wrapped with my dyed fabrics and the two reads
piece are covered with a crazy patched piece by the paper piecing methode. I embellished my button core shapes with beads.

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  The framework for  the dorson buttons is a curtain ring first covered with blanket stitchs and next wrapped spokesmostly sixwraps.There are several waving patterns like crosswheel , which I prefer. I also made dorset basket ( the below button) The blue one is a singleton button.whis a fabric covered dorset button.

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  The basic of these buttons are a ball of wool which was stitched with embroidery  yarns

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These toggled buttons are rolled fabric shapes bonded with angelina

These toggled buttons are rolled coloured tyvek, wrapped with metallic threads and then zapped with a hot gun

Chapter 8 Beadswork

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The background of my beadwork is black cotton with fused golden foil, partly extensively stitched with
rocaille beads and sequins in combination with sisha embroidery and free stitching with needlepoint . The space was machine quilted and the lines were emphasized with oil paint sticks.
I shall use this as the middlepoint of a bookcover