So, I'm feeling ready to get into my next blog, nine.
I've been considering various themes to pursue and this one is, "Paper dolls".

What am I on about... Paper dolls...well, I love pattern drafting/pattern making/patterns...working that 2 dimensional thing that creates a 3 dimensional thing.  Patterns connect with paper. One time, when I was working for a fashion designer, another pattern maker/cutter and I talked about how much we loved paper dolls when we were little girls, so we wondered if that might be a connecting factor between pattern makers......the love of playing with paper dolls when young....hence, paper dolls and paper patterns is where this blog comes from... so, I'm thinking.....

"Paper, Cutting, Pattern"

Let's begin with "Paper"

The most basic paper dolls...paper doll chains......

Weren't they such fun....and if you need/want instructions re paper chain dolls, here is a good site to get you started 

http://www.origami-resource-center.com/paper-dolls.html
It used to be lots of enjoyment cutting rows and rows of these shapes.
Now, something in a similar vein, yet in a different sphere
Issey Miyake's wonderful A-POC creations

This is from Issey's A-POC label, A Piece of Cloth.  Issey Miyake and Dai Fujiwara have rethought the manufacturing process of making clothes. Computer technology programmes enable rolls of fabric to be produced that contain whole clothing ensembles and accessories that just need to be cut out...that's all....just cut out and the garment is ready to be worn.  "Cut and wear".  The process actually removes the need for a pattern maker(!), because the inputted data into the machines creates marks on fabric, which indicate where the cuts are to be made to create the garment.

The red dresses in the above images come from the 1999 S/S collection.  Each dress is a slightly different permutation in a single continuous piece of cloth.

Here's another cool image of a wonderful A-POC dress creation.

The A-POC technique integrates knit and woven processes, and whole seams are sewn together during the construction process.  Even jeans can be created.

This is a really cool web site:  www.trilliumstudios.com/issey-miyake-a-poc/

It is an interesting explanation of how visual ideas develop to a finished outcome and also refers to the above dress. (I love how Issey Miyake and Rei Kawakubo have both worked with dancers)

I visited an A-POC exhibition at the Vitra Design Museum in Berlin.  It was highly stimulating,

 

and of course, I purchased the catalogue book.  Here's an image from the exhibition....these fabulous beanbags were dotted all round the space which people flopped down in.  

 This image, from the exhibition catalogue, inspired me to cut a pattern and make one for myself!

 

I used some fabric I had lying around my workroom, it's not as cool as Issey's, but it's still a fun beanbag.  (If you would like to make one, let me know and I'll send you a pattern.)

And, I do have some authentic A-POC creations, purchased in London, couldn't resist... An A-POC apron and 2 table mats.  You can see where I had to cut to create the pocket sections

I'm going back to "conjoined" for a moment..

This is a delightful painting showing Issey's red dresses, and in the middle, is an image of a CdG creation from the S/S 2011 RTW collection. 

Here are some of the actual creations...

Quite "out there" aren't they.

I created a "conjoined" t-shirt with an appropriate message, for a bit of fun.

This is another image from the A-POC exhibition.

What I like re this image are the tabs that are left at the end of the cutting process, 'cos they make me think of the paper doll wardrobe, which that pattern cutter and I loved playing with when we were young.....in fact I haven't stopped playing with them!

Susan Sontag and, not 100% sure re the male...think it's Larry Flint (only 'cos of the Hustler mag.)

Some interesting collections have been created which relate to a "Paper Doll" theme.  One is CdG and another one is Jun Takahashi of Undercover.  His AW 2003 RTW collection was definitely inspired by this concept. You'll see it... the garments have the tabs.

                            

Jun Takahashi is a talent who was encouraged by Rei K.  She has always been good like that...Junya Wayanabe...Tao Kurihara...she recognizes their talent and fosters their creative development.  A relative bit of info I have researched about Jun Takahashi is, he attended Bunka Fashion College and is quoted as saying "I just played around and never studied, except to learn how to cut patterns".  Good man, pattern cutting is a great craft to study.

The particular CdG collection that relates to "Paper Dolls"  is the A/W 2013 RTW one, which I have mentioned before.  It was a fabulous collection, all about 2 dimension, even tho' it's worn on a body and becomes 3 dimension, it till looks 2 d.

"cutout paper-dolliness of looks like the red and pink felted coat-dresses.....The only thing missing was the little paper tabs." (Tim Blanks)

The images I am using to represent the collection came from 'Another Magazine'...I think.  I really like the concept they worked with, it's very "Paper Doll".

Rei K. used felt in this collection, to great effect.  Obviously, it was a step up from craft felt, because of the weight that was needed.  I managed to score some heavy quality maroon coloured felt from Spotlight a couple of months ago, and my idea is to create a top that is inspired from this collection.  I like the tops that are like daisy shapes stitched together.  We'll see how it goes.

There are lots of adults who still work with Paper Dolls and some of them are very creative.  I was given this book to inspire me.  It might give you some creative ideas.

 I am probably turning the pages a bit fast when I look back at it...I'll have to improve my technique.

And now...."behind every great designer, there is a creative pattern cutter" (Tyrell:2010)
Pattern cutting is a series of measurements that create a 2D shape to fit a 3D body.  It's a technical and craft based skill.
Flat pattern cutting is the traditional method and involves creating a block shape, then adapting and manipulating the block to create the desired design shape.
Draping is the other method of pattern cutting.  The shape is created on the mannequin, using fabric.  I have a Yr 11 student doing a superb job creating her project patterns using this method.

A pattern cutter is the base of every collection, and  makes, what can be difficult designs, take shape.
I have said it before, but Rei K. must have fantastic pattern cutters.  She acknowledges that her senior pattern cutters play a vital role in the designs of a CdG collection.  They have to be able to interpret the conceptual drawing/descriptions R.K is prone to deliver.  One skill they must possess is the ability to innovate, which is quite obvious by their results. R.K. expresses her conceptual theme for a collection (sometimes it can just be one word) and the pattern cutters come up with the pattern ideas that express the concept.  R.K. has said, "patterns are designs.  Designing actually begins with the pattern".

Rei likes her pattern cutters to "break"many of the traditional rules of the craft that are taught in institutions, however they must be grounded in these basic principles, which are then turned on their head.   I often tell my students...learn the rules first and then you have a better understanding of how and why you can break them.

Many CdG patterns are not bound by the traditional rules.  The patterns may be cut along different grains which help the garment take on a shape all of its own.

An interesting CdG pattern and  garment.

This is an interesting Issey Miyake pattern.  There's an element of a kimono to it, rectangular for example, and with a few pleats here, some stitching there, a cool halter neck dress is created.  I loved working my way through my Issey Miyake patterns.  An incredible pattern shape would sew into a wonderful and much loved garment.

Here's the pattern I've been working on lately.  It's a CdG inspired "pant skirt" style and I had just enough fabric to accommodate the pattern I ended up with.  I'm pleased with the low wastage of fabric. 

There is a fashion web site, ShowStudio, which provides designer pattern downloads  Try this web site for some of the downloads.  It takes a bit of work, putting the patterns together, but it's worth it.

http://blog.pattern-vault.com/free-designer-patterns/

I have downloaded a few of them, started with a Yohi Yamamoto cardigan.  There is a Martin Margiela dress available and a creation from Gareth Pugh.
Here's my work with the Yohi Yamamoto pattern....you have to realise the pattern is made up of A4 sheets taped together!

And, these 2 pattern pieces sewn together create this....

For those of you into patterns being the inspiration for creative and interesting art work, check this website :www.blockparty.org.uk
It is a wonderful exhibition and the web site is the next best thing to seeing it in person.


Lesley Hurst is a delightful artist who presents her work in the fabulous Textile View magazine.  She produced these gorgeous "marquettes" and they really connect with the pattern maker within me.  It's the tools of the trade of cutting and construction that really appeal ...the tracing wheel, the sewing thread, the pattern paper, the pin wheel and folding and pleating to create shape.  Love it, creative and cool "technological modelling"!

I also love these works by Rosie James, obvious reasons.  I love how she presented her work in the pattern envelope style.  I haven't yet made any of them.  I also like soft sculpture.... Claus Oldenburg at al.....that's another blog subject in itself!!

Here I am, still playing with paper dolls......Breaking Bad paper dolls...terrible photos on my part, but great paper doll idea!

And last of all, remember that pattern I was cutting, the CdG inspired pant-skirt... I've been working on it and this is where it is at ......E said, "You're joking!".  For heavens sake, it's not finished yet!!

...but I reakon this blog is! 

SLTSLTBsigning off.

Right, I'm ready to get into Blog #8 and surrounded by heaps of "stuff" I want to work with, and, as is often the case, to start is the hardest part.

I'm going to work with an 'Architectural' theme in this blog.
There is such an interesting connection between Architecture and Fashion.  Once you start looking into this concept, it leads in all sorts of directions, and, is very absorbing and going to involve interesting shapes.

The starting point for me is CdG's S/S 2009 RTW collection, which is an amazing investigation into garment geometry, and a return to black for RK. The collection worked with hexagonal cutting in tops and skirts using vinyl leather.  It is very inspiring.  Here are some images from the collection.

Sarah Mower reviewed the collection and her sentence "frilled edges on stiff plastic tectonic shoulder plates" proved inspirational for my creation from the collection.
Tectonic as an adjective: of or pertaining to building or construction; constructive, architectural.

 I purchased the black vinyl leather for a project I was working on a couple of years ago, but never used it on my original plan. So, there it was, under my work table, and off I went, cutting hexagonal shapes and stitching them together. It was a very organic experience as it grew and took on its own shape to a degree. Very tectonic.  The soft fabric ruffle ribbon was a good way to finish the upper edge.

My Hexagonal Capelet, worn with the sculptural skirt I talked about in a previous blog, which was also inspired by the same collection.

As I have already stated, Architecture and Fashion are strong companions.  They share similarities, both provide protection & shelter, both provide means to express identity.

There have been a number of exhibitions that cover the topic.  The particular one that I want to refer to is Skin & Bones, Parallel Practices In Fashion & Architecture, but before I do, here are some sketched images that demonstrate the influence of Clothing History & Architecture.

There has always been an influence between dress and buildings.  No doubt the first garments and houses made by early humans were motivated by the need for protection and shelter.  Many times garments were fashioned in the image of the buildings and vice versa.

  

In the Egyptian image the angularity of great tombs and patterns on massive columns were reflected in the clothing and head wear.

The Greeks and the Romans followed a connection between buildings and dress. Folds of cloth in the chitons and togos reflect the wonderful columns that held up the awe inspiring temples and villas they constructed.

The "Dark Ages" are considered rather formless in both architecture and clothing.  The Church was doing a lot of the building and some wealthy nobles got the opportunity to appreciate rich cloth and colour.  General man was otherwise living an impoverished lifestyle, seemingly lacking the capacity to imitate and invent.

The Middle Ages was a time of awakening.  Human imagination came into it's own.  Tall spires, pointed arches and somewhat simple columns echo in the long lines of gowns, hanging sleeves and a plain outline of the body.  As Gothic architecture became more elaborated with abundant carving, clothing also became more decorated. 

The Tudor period was a new and revolutionary time in Western architecture.  The burly figure of Henry VIII

fits so well into the sturdy outlines of a Tudor arch and the woman's head wear imitates the structural shape. Henry delivered a strong influence upon the buildings of the day, which then exerted an influence upon the king. 

The Elizabethans became more distorted, padding, varst quantities of heavy material and elaborate decoration/detail. The architecture and furniture was bulbous and stiff.

The Seventeenth Century initially saw the shape of the body become more natural and less exaggerated, then fashion dictated exaggeration again.  This time, instead of being wide, everything was tall and narrow, hair styles, head-dresses, furniture and windows.

The Eighteenth Century delivered a simple broad design outline with elaborate decoration within it.  

The Nineteenth Century (Regency & Victorian) saw rapid changes in fashion.  The Regency delivered simple classical lines, geometric patterns and details.  The Victorians however, had a lot of fun playing with all sorts of shapes and forms, which seemed to be based on styles from previous periods.  Architecture or costume could have many different examples of decoration and trimming.

(These images and information came from 'Designing and Making Stage Costumes'.  Sorry, no record of author)

Now, the fascinating exhibition: Skin & Bones, Parallel Practices In Fashion And Architecture. 2007.

This exhibition involved 46 internationally renowned architects and fashion designers, covering the period 1980s to 2007.  It explores the evolving relationship between architecture and fashion, suggesting exchanges of ideas/concepts enabled innovative work within each discipline.  The similarities are both interesting and fascinating. "Architects and fashion designers construct for and around the body, both respond to the needs of the environment, and the best in each field make it their business to push the boundaries further outward."(Andy Pickering & Lily Richards, magazine supplement)  Fashion designers and architects creating spaces, shapes and statements in response to needs and wants of the human body.  

Here are some interesting images from the exhibition

Yokohama International Port Terminal.  Victor & Rolf  One Woman Show (F/W 2003)

Mikimoto Ginza 2.  Petal Dress Detail (Unsure of designer)

These are CdG designs.  She has used intensive folding as a major design feature.  The left and centre images were used in the Skin and Bones exhibition, which considered the vertical folds to look similar to load bearing structures found in high rises.  The right hand image is from, Fashion, A History from the 18th to the 20th Century. The Collection of the Kyoto Costume Institute. (A fabulous book!).  I have always loved this picture.  I love how it is tied with the bows.  Apparently, nine layers of fabric are pleated and sewn together forming the bodice and skirt, with the top layer having a print and vinyl coating.  I wonder what RK's conceptual statement was for the instigation of this 1998 S/S collection?
Check this youtube site re the collection...it's great....www.youtube.com/watch?v=U8EUqVaGqyc

This is the guidebook for the exhibition, when it was shown at Somerset House, and if you go onto this link
http://www.somersethouse.org.uk/documents/skinbones_exhibition_guide.pdf
you will be able to look through it.  It has wonderful drawings, both buildings and garments, carried out with clear clean lines.  It is a good resource, and I think the font is pretty cool as well, very applicable.  The guidebook presents the various concepts delivered in the exhibition: body, identity, shelter, geometry and tectonic strategies.

I have my own image to add to this theme.  E and I went on a trip to Whangamomona the other weekend and we drove down a side road which had this 40 foot container at the end of it. E was interested in how it got there, what damaged it etc while, me, I saw pleats...and thought of a Junya Watanabe dress.

CdG inspired sweater

Buildings, constructions, buildings.....Rei Kawakubo is an enthusiast of architecture.  She has worked with a range of highly regarded architects, e.g. Future Systems and Takao Kawasaki in the creation of CdG boutiques from Tokyo to Paris to New York.

I made a special sojourn to 520 W  22nd St, Chelsea, New York, and initially strolled right on by....the exterior is not what you think it would be, but that is very RK.  My photo will explain.

The image on the right gives a better view of the immediate surroundings...but then you become aware of the entrance way. Fantastic.

I also made a visit to the Paris boutique, 54 rue du Faubourg St, Honore.  It's quite different, which is also very RK.

 

I used to purchase a magazine called Nest, and in one edition they had an article on the New York store. The editor's dog was investigating the interior.  He is the most amazing looking poodle dog.  Check it out.

The editor said he had the dog clipped in homage to RK.  We think he had just been to see the Merce Cunningham collaboration with RK.  It was at the time of her infamous Body Meets Dress Dress Meets Body collection.

There is a similarity re the shapes isn't there.

Here is another cool link to see the actual dancing in the costumes  https://www.youtube.com/watch?v=MBlzeehZIeE  It must have been quite an experience dancing in such structural costumes.

I need to end this blog, and seeing as I have just been mentioning shapes and dance. I will post some images of my 2011, Yr. 12 class Fashion Event.  They decided to stage a performance instead of a parade, and worked with a theme of Shape.  Lady Gaga was a popular inspiration for a number of them.  It was a bit of fun, although not without it's problems staging it on the tennis courts, sound quality wise.

I know, I know, I'm meant to be signing off, but just one more image, as it relates to buildings.  It's a bit of fun.  Another image from the Nest magazine I used to get. The summer 2001 edition  commissioned Rei Kawakubo to design a mourning outfit for the United States Capitol.  I love the dome dressed in tulle and ruffled ribbons, very RK.  And the black ribbon threaded through the whole magazine and tied in a bow is a very cool feature.

 

Anyway, that's all for now.

SLTSLTBsigning off.