• R Mansfield

Sculptural Fashion

Sculpting the acrylic is an essential part of creating for the fourth outfit, where the form is going to aimed for an entirely acrylic garment, and the use of traditional materials is complete forgotten, in the final statement of the new age of creation and evolution. The sculpting, via the tools of a painter stripper, some heatproof gloves, an extractor fan, and my hands, make this part of the collection which is the most organic to the core, despite the material defining the artificial far more than any other methods does. The sculpting is focused primarily on the bodice pieces which were lasercut, which is due to the be the basis for more decorative elements. However, the overall piece, despite the measurements to create the pattern originating from the mannequin and the alternative measurements to the bodice last year, the pieces appear to have a great deal of excess in the, and hence lack the formation to the body while trying to heat the piece on mass with the industrial oven and shape them to the form for the basis of the piece. As a result, the outfit has developed quite severely, and the process and treatment of the acrylic pieces has begun to reflect the methods and textural outcome reminiscent of ice, water, glass, and of effervescent movement, in an effort to ensure the pieces fit the body. This is no small feat, as the process takes time and the effect achieved, understanding the balance of the protrusions and shapes to ensure it appears natural and instantaneous, without the labour of manipulation. This translates, as well as to the physical appearance, to the fit of the form, and the ability to sculpt together the pieces in a functioning and artistic creation. The tactile nature of this sculpting has a highly satisfying quality, and the way in which I am directly effect and impact a final piece, as opposed to the long process which can become so lethargic and over-engineered within traditional fashion, that the love and spontaneity of the creations become lost; This is not the case with this method. Regardless of the satisfaction and control awarded by the sculpting, working in 3D is hard, physical work, even while sculpting, and despite the extractor fan, there is clearly an effect with the plastic fumes from the sculpting. Thus, it is not always easy to simply work when I would wish, and to persist when it needs to be complete, and the limitations of access to the space and tools further places pressure on creating this garments with a pragmatism of practicality, where the completion and application to other garments can be considered, and the planning of when to complete different aspects of the collection, has come into play far more than I thought, and I have become a much more temporally-conscious designer and creator, as I have had to fit the processes into timings beyond my control. Time in 3D is something I relish, even if it is tiring and can be stressful, the results are a thing of beauty, and this method, which I stumbled upon over a year ago now, has developed so far from basic moulding, into an artistry which questions the very nature of solid-state materials. The longer I sculpt these garments, and the more creative passion which is placed into these creations, considers whether there is both a place in the fashion industry for this, and also a smaller-mass market for these creations.

Firstly, the Industry: Fashion is one of the most wasteful industries in the world, and it continues to do a fraction of anything about it. However, what if garments such as these could be created into a form of recycled plastics, which could be re-sculpted and reformed to not only create art, but to truly consider the statement it would make, with the potential for mass trickle-down effect, and the way this could transform the industry if polymer-based waste was reconstituted into a new age of garment.

Secondly, the mass market: The mass market is something I have absolutely no interest in, not at all. But in terms of working as a freelance creative, or continuing to produce work prior to the initiation of my proposed MA, this could be a unique outlet to produce a series of jewellery beyond anything which has ever been conceived before.

Sculpting has, and continues to bring me much joy, and the effect never fails to be quite something ethereal, yet real.

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