Art 204: Dart Manipulation

Art 204: Dart Manipulation

Shoulder dart into side dart

(with iron rust dribble)

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The Dressed Body : Art 302 Take Home Quiz

  1. I would consider my social group as being college students.  In this group the norms for dressing are rather ambiguous, but largely characterized by the need to be comfortable.  A typical college student outfit would be jeans and a t-shirt. In The Dressed Body, dress is described as social and is also produced through “routine practices directed towards the body (Entwistle, 34). The dress of a college student is somewhat dictated by the interactions between each other, but it is highly influenced by long days on campus. T-shirt and jeans is a versatile style, giving a solid foundation for personal expression. There are many variations, from grungy to chic, but its casualness makes it the ideal uniform for a long day at school. As this comfy combination is the predominant ­­­­style in my closet, I can’t see myself wanting to change this norm.  Walking around campus, I often see other students trying to break away from the casual mold.  One look at their stiletto heels, fully done up hair and make-up, or whatever they’re sporting, makes me feel immediate discomfort for them.  Although usually an advocate of walking to the beat of your own drum, this fashion norm is one bandwagon I will gladly jump on. I don’t see myself ever giving up my denim and tees.051bfdf8853d5d927b40e90a0743c24c 122f1c78b7a3b00a3d6d838e1687d2cf
  2. We dress within the boundaries of our culture to avoid “social censure” (Entwistle, 36). Early on we develop an “epidermic self-awareness”, a sense of how our dress fits us and how it fits into society around us (Entwistle, 45). I experienced fashion embarrassment at a typical age: preteen.  Growing up in a very conservative, religious family, we were required to emulate modesty and femininity.   This, of course, is still a standard I strive for. I have zero intentions of beginning to dress provocatively, however the way I express this modesty has grown more lax over the years.  Our clothes growing up had a “moral imperative” for us (Entwistle, 48). This style choice was conveyed though loose, baggy jumpers/dresses/skirts.  I didn’t wear a pair of pants until I was perhaps 11 or 12.  I remember feeling embarrassed going out at times, when my friends were wearing cute, “trendy” clothes, and I was swathed in what I felt was a floral garbage bag.  This time of low fashion self-esteem led to experimentation and attempts to create a new image for myself.  I began to choose more form fitting clothes and attempted to mimic the trends of my friends.  The irony of this is that today my personal style evolved into a relaxed statement. Now, I prefer loosely fitting clothing, I don’t consider myself a trend follower, I shop at thrift stores, and prefer to dress as though pajamas are acceptable to wear to any occasion. retro-trees-jumper-1OLYMPUS DIGITAL CAMERA
  3.  This question can be viewed different ways.  I perceive my body as both passive and political. Is the very fact that I am wearing clothing a sign of passivity?  I acknowledge the push of society to be dressed and I comply by wearing styles that are recognizable by my culture.  Or is the active acknowledgment of the norms of society a political statement? I am actively choosing to follow these cultural stipulations, instead of actively choosing other less conventional ways of expressing my body.  My body is political because I don’t follow the trends of my generation. I choose to wear clothes that are comfortable to me, regardless of whether or not it is “fashion forward” or not. I pay more attention to the everyday routine that dictates my clothing, rather than the style of my peers. I would define myself as not “a passive object”, but produced through particular, routine, and mundane practices (Entwistle, 45).h-m-jeans-primark-t-shirt-converse-shoes_400 BQcDAAAAAwoDanBnAAAABC5vdXQKFmNlc211al9EUWRtb1J4bVYtVGwtNncAAAACaWQKAXgAAAAEc2l6ZQ

Fast Fashion- Hecho en México

Project Statement:

Our goal was to have a garment a comfortable and versatile garment that would appeal to a broader range of customers. We chose to “knock off” a t-shirt for the piecework production project. Our company Shamans was based off-shore in Mexico. The work load was divided up to most efficiently utilize each others skill sets and levels. We worked with a cream colored knit, purchased downtown in the fashion district and used an iron-on graphic designed by Michael. We made the t-shirt “one size fits most” and unisex to target a wider variety of consumers.

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We were able to work in a real “sweat shop”, thanks to Vanessa’s fiancé. It really enhanced the project by getting outside the classroom experience working in the piece-production industry.

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Cost breakdown:
Garment: T-Shirt With Graphic
Made in: Mexico
Mexico Labor Costs:
79.6 Pesos Per Day (8 Hour Day)= $6.24 USD (WAGEINDICATOR.ORG FOR 2013)
Labor: 38 hrs. 42 min= $29.96 USD : 15 Pieces= $1.99 per shirt
Fabric: 25 yard roll= $25 = $1 per yrd
Thread: 6 spools= $9
Transfer Paper= $24 for 20 sheets= 15 Sheets= $18 = $1.20 per shirt

Total per shirt= $2.19
Retail= $10
Profit= $7.80 per shirt

Mariachi Vest

For our tailoring project, I was inspired by the cultural significance of a mariachi and wanted to reflect my own heritage through the aesthetics of my vest.  I chose a plaid wool and used chain stitch embroidery to represent my Anglo-Saxon and Celtic ancestry.

This was a very fun project for me, although frustrating.  I learned to appreciate even more the time and effort that it takes to create a well-crafted garment.  Impressed by the craftsmanship and dedication I witnessed at La Casa del Mariachi, I really tried to push myself to create a well-fitting and tasteful garment.

 

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Mariachi Conversation

At first its a discord of sounds and plucks

The tune up of an introduction

Like the guitar humming up to an E

Shaking hands with the A of the violin

The jolted chords as you start and stop

And laugh till you find the rhythm

Of the guittarron mumbling low to the beat

The tempo rises and you start to grin

As the harmony of things in common

Gets the music dancing, gets words swaying

In the engaging conversation where

The accordion and the trumpet are exciting

New stories that liven the scene

As violin and vihuela rhythmically blend

Your souls into a friendship that will last

After the final reverberating chord ends

Saying goodbye to mariachi for the night

Just means you start waiting

For the next conversation

With your new found friend

Coutured Trash

Finished garment
Finished garment

Using couturier Stéphane Rolland as my inspiration, I wanted to create a garment that reflected his classic and simple silhouettes and his modern lines and asymmetry. With a nod to his 2012 Fall/Winter collection, I constructed a garment that had architectural elements as well as a soft side. I used magazine pages to create the definite lines of the structured side of the garment and I used pleated plastic bags to create the flowing drape of the other half of the garment. I also incorporated a metallic belt, made from the foil of a chip bag, to reference the belts and accessories that so often complement Rolland’s designs.

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Design Inspiration
Preliminary Design Sketch
Preliminary Design Sketch

Couture: Stéphane Rolland

Stéphane Rolland has the distinction of being the youngest French Couturier in Paris, beginning his Haute Couture work for Jean-Louis Scherrer at the age of thirty.  Ten years later he opened his own Couture house, admitted to the Chambre Syndicale de la Haute Couture. With twelve collections under his belt, his Couture line is renowned for its modern, architectural, and luxurious aesthetic. Image

After studying at the Chambre Syndicale de la Couture Parisienne, his career in the fashion industry began twenty years earlier when he was named artistic directer for menswear at Balenciaga. At twenty-four, Rolland launched his own prêt-à-porter line, which was immediately successful. He is also a costumer, nominated for two Molière awards, and  an official partner with the Cannes Film Festival. Image

His design aesthetic is bold and structured. His garments are often asymmetrical and feature exaggerated shoulders, intriguing folds, pleats, and flounces, metallic belts and accents. His color palate usually remains neutral, with only a splash of color here and there. Rolland is inspired by contemporary art, often using architecture and even furniture as his muse. This is reflected in the dramatic lines and curves of his designs, as well as the innovative manipulations of fabrics.ImageStéphane Rolland’s designs are sleek, and elegant, combining the classic principles of Couture with a modern flair. The simplicity of the silhouettes gives way for dramatic, often mysterious detail, achieved through creative draping and use of materials. His celebrity clientele includes Queen Rania of Jordan, Sheikha Mozah of Qatar, Lady Gaga, Cheryl Cole, and Beyoncé. This year he will be launching a ready to wear and accessories line. Image

My Favorite Designer

My favorite designer is Alexander McQueen, not the brand, now run by Sarah Burton, but the designer himself and his strong, innovative designs.  I admire his creativity with materials, whether they are shells, feathers, or glass. His use of texture and color helped convey the complex thoughts that inspired each collection. His designs are strong and sometimes dark, yet he also has the ability to evoke a fragility and softness. Alexander McQueen was clearly a designer that understood the rules of tailoring, but he was not afraid to break them in order to get his point of view across. He was deeply imaginative and inspires me to challenge the conventialism of fashion and use it as a tool to convey what is important to me.Image

http://www.alexandermcqueen.com/alexandermcqueen/en_US