• R Mansfield

Fire. Burning. Fashion

When looking at Outfits 1 & 2 and looking at what pulls them together, in their vast differences, there is one key aspect: the manipulation of seams. Vast and continuous, the alterations to the seam lines into my own creations, have defined the collection to this point, and the lines of the body, natural and organic, are functional and structural as well as decorative and evocative, and therefore, for the collection to begin my own, there needed to be a deep consideration of the way in which to incorporate this vital elements across such a transient collection. Alongside this, the consideration of the natural of the skirt was key, as seemingly attaching it into a seam on the bodysuit of tulle was not going to work, and the effect of hiding the joining methods and imbuing the collection with organic feel would be completely scattered, and reduce the impact of intention of the outfit. This duality of thought processes brought the conclusion of a separate skirt which would sit at the waist, and the design which would reflect the concept of both growing up the body and having the body grow from its grasp. This transferred into the uneven waistline, reminiscent of the growth of the nature up any form, and also of the connection to the body, which would be lost by a straight and typical waistline- as my collection and my art is anything but typical. The Skirt, also, would not just be a skirt, and would follow through with the organic properties befitting of the concept and his idea of the plastic growing over and sponsoring the growth of the new species within. In the detached skirt, the signature alteration and manipulation of the seam allowances is the connection, to come together to create an intriguing silhouette, which will further move, and will add to the deep sense of evolution to the human form. The skirt, due to pressure form time and limitations of studio time, is a purely drafted piece, which is one my favourite methods of creating something, as it feels so creative and awards so much direct control, along with the wonderful element of unconceived chance, where the outcome could never have been designed or create via pattern as the behaviour of the fabric was never considered or expected. The shape, which meets at the top front, and then has a dip hem into a floor-length piece at the Centre Back, and to further link the collection to itself, the use of the seams could be vital, and would reduce the bulk of the seam allowances internally (which would also greatly subtract from the overall effect of the natural and artificial growth as organic elements as the illusion is lost in the observation of the seams and traditional sewing applications). This needs to be considered, and the skirt, in its fluid form of the solid acrylic, needs to be a point of observation and admiration, with its own oxymoronic properties of the artificial and the natural.


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