Evaluation of bodice project

Firstly, as the brief instructed I had to design a surface pattern inspired by a

chosen artist. The surface pattern would have two applications, the first for an
illustration used as an advertisement and publicity material and the other for a
garment which would be modelled on the catwalk at LFW S/A 2015.
The brief clearly stated that the client was not looking for a pastiche of the
artists work but they wanted to be able to see that I used formal elements and
visual language of the artists work. The client wanted to see creative and
experimental outcomes in both graphic and textile ways.
I started by exploring the key elements of the project and expanding them to
help me get a full understanding before I started doing research. I looked into a
range of things mentioned on the brief: surface pattern, exhibitions, formal
elements, visual language, techniques and advertising.
I then briefly researched some surface pattern designers to get some ideas and
inspiration for the type of artists I could use. I looked at Japanese designer Kalla;
Kallas work is different from usual. She cuts out repeated shapes and uses this
as a template for her work. This is a really interesting way of creating a surface
pattern; on her blog it shows you how to create a surface pattern using her
technique. I also looked at a surface pattern company called Kapitza, they work
with a range of media including non-alphanumeric font, I-pad apps and three
dimensional work. They have clients such as Ikea and Gucci. They use a lot of
shape and line in their pieces. Furthermore, I looked like a designer called Judy
Kaufmann; Judy uses a selection of geometric, organic and typographic forms to
create her patterns. Her work is quite simple but at the same time as a complex
edge. Finally, I looked at Rifat Ozbek, Rifats designs are all limited edition, and
every piece he makes is very rare. He uses exotic and elegant fabrics, which he
has travelled around the world to collect. Rifat has designed for Princess Diana,
Madonna, Cher, Janet Jackson and more.
I also looked at more modern surface pattern designers: Florance Broadhurst,
Katie Clement and Paul Willoughby. Florances designs are bold and timeless,
Katie uses a lot of floral prints, and she is also a brave creator of colour use.
Katies designs have featured in the Daily Express Newspaper and Brazilian
Vogue. Paul creates very modern trendy detailed surface patterns.
I then started to research artists which the project would fit well with. Firstly, I
looked at Vincent Van Gogh. Van Gogh was an impressionist, an impressionist is
an artist involved in the art movement in French painting, developed in the
1870s by Monet, Renoir, Pissarro and Sisley, all having an aim of accurately
recording experiences by an organization of brief impressions mainly of natural
light effects. From Van Goghs work I can clearly tell the subject of the pieces he

created but he would use outstanding techniques of creating the artworks, some
of his work looks almost distorted. Ive found that in most of his paintings he
would use similar colours but create different tones and strengths of colours. Van
Gogh works with paint which he applies thickly with heavy brush strokes on
canvas.

Secondly, I looked at Jasper Johns. John often bases his subjects on popular
culture. He says that his work is more Neo-Dada than pop art; Neo-Dada is a
minor audio and visual art movement. This was the foundation for Fluxus, Pop Art
and Nouveau realism. Neo-dada is illustrated by the use of modern materials and
popular imagery. I think that the way that John works is very fascinating; I can
tell he used expressive brush marks. This gives me an idea of how I want my
surface pattern garment to be designed.
I also looked at Yuken Teruya, he is an artist who works with a variety of media.
Yuken recycles materials to make his artwork this is what has inspired me to look
at his work. He mainly works with old fast food carrier bags and creates 3D trees
inside, using only natural light, it lights up the interior of the bag. In some of the
bags he uses a splash of colour with a plain coloured bag, but he keeps it very
simple. Yuken uses just paper and glue to create his pieces.
Fourthly, I looked Bridget Riley, who is an English painter who specialises in
optical art. Bridgets mature style was developed during the 1960s. Bridget was
best known for painting the black and white works. Her work uses a great variety
of geometric forms that produce sensations of movement or colour. Occasionally
she introduced tonal scales of grey into her work and then started to investigate
in colour in 1967, which was the year she created her first stripe, this was a
painting called Shadow Play which was oil on canvas.
Finally, I looked at Marion Bolognesi. She specialises in drawing, paintings and
fashion. From her work you can see that she works expressively in watercolour
paint. Bolognesi shows mature style in her works, they are very emotive. She
uses a range of colours which convey different emotions. She also creates very
detailed paintings. Bolognesi has worked with Rouge Magazines to create
images; she has also collaborated with Stephen Holding, Zach Johnsen, Tony
Phillppou and Steph Love. Bolognesi says that she has been most inspired by her
surroundings, by coloured objects and people in her environment. I really like
Bolognesis work as I think she has a really unique technique. And if I did use her
for my textiles project I wouldnt copy her style and technique but try expand
and develop it.
I decided to take Van Gogh and Bolognesi further and I was concerning both for
my project. I created a page were I looked at the colours and techniques Van
Gogh used. I found that Van Gogh used very basic, neutral and dull colours. In

some of his paintings he used a faded technique which adds shadows to the
background. In other painting you can tell he used thin brushes as the paint
marks are tiny. I then did the same for Bolgonesi, it was noticeable that
Bolognesi work was more exciting and adventurous. I like the idea that she uses
dripping /bleeding in her work, this implies emotion and each piece suggests/
shows something different. This shows I didnt find that Van Gogh pieces had
very clear meanings. Taking her technique further, Im going to create
explosions, suggesting emotions such as panic and fear.
I started with basic designs using the explosion idea. I played around with colour,
materials and media. The colours I started with were blue and white; both these
colours are neutral and work well together. When blown together different
shades were made up.
I then experimented with different colours such as red, blue and green, which
when merged together created colours such as purple and green. I then tried out
different material such as cotton, silk, hessian, denim and acetate. I also used
different Medias such as acrylic, ink and latex. I tried out different techniques
such as tie dye, laminated, Photoshop distortion, blowing paint with a straw and
then a hairdryer. I made felt and preserved flowers with wax.
But the most successful experiment was when I blew acrylic paint out using a
hairdryer onto acetate and then covered it with another piece of acetate, making
more interesting patterns as they over laid one another. Firstly, I used white and
blue then I tried it with colour which gave a nice pattern but made the print look
brown/dirty. Taking this further I then used white and blue latex to splash and
blow onto black denim. At first, this wasnt successful as the colour didnt show
very well but when I mixed it with acrylic paint it was thick and visible on the
denim. As these were my most successful experiment I decided to merge them
together to see how it would look. By layering the acetate over the denim it gave
a 3D effect which I really liked.
Once I had come up with the surface pattern, I had to design the shape of the
garment, the construction and materials I would use.
Before creating the garment, I focused on the advertising material, for this I used
two of the coloured acetate prints I had created and scanned them onto
Photoshop; I did this so that I could include some graphic elements as thats
what the brief had asked for. I merged the prints together to make the pattern
more complex. I then changed the contrast and brightness so that the print had
more vibrant colours and had a variety of colours rather than just purples and
blues. I then wrote London fashion week onto the print along with the supporters
of LFW, Canon. I was happy with how the advertising material looked finished, it
was professional and relevant. It also links in with the project. In the brief the
client explained that they wanted the piece to suggest that I had explored a
range of media and techniques which I feel it does.
I then started to sketch out some ideas of how the bodice would look. I wanted to
have two parts to my design a top half covering the chest area and a bottom

piece over the stomach. I felt as if I did this it would be more creative and
challenging. The client asked for a bodice, I feel as though my garment would
still be classed as a bodice if I designed it like so. As a bodice means a womens
dress above the waist with no sleeves, this leaves a very flexible idea of what it
could look like, as that was the only guidelines I was told to follow.
I decided the top part of my bodice would be summer related because the
garment was going to be presented at LFW in September which is a warm month
and the pastel colours that Bolognesi uses convey summer. The design I had for
the top part of my garment looked similar to a bikini. I felt this was appropriate
concerning the season in which is garment was for. The material I was going to
use to create this were denim with white and blue latex splashes for the cups
and the support to hold the cups in place was wire. I decided upon wire because
it has industrial feel which looks dangerous and uncomfortable, this conveys an
emotion of hurt as does some of Bolognesis pieces. The wire also links with brief
as the client said to use formal elements, the wire creates sharp lines and edges.
The design is simple but interesting like Bolognesis work. I measured out the
denim once the wire was in position on the manikin. I then attached the denim
cups to the outline by leaving excess fabric so I could wrap it around the wire
and then stitch between; making the material fit the shape of the cups perfectly.

When thinking of designs for the bottom half of the garment, I came up with two
ideas. One design was a cage this would fit with the industrial feel but I decided
that it wasnt very creative and I wouldnt be able to add any further designs /
patterns to it. My second design was having panels coming of off the top half; the
panels would be separate and be joined together with hoops of wire. Having the
panels separate was suggesting they were breaking apart this also conveys an
emotion of tore; therefore, this would link very well with the upper half of the
bodice which conveyed hurt. I created templates of different shaped panels:
rectangle, square and circle. Rectangle looked best and used up more space
when any of the other shapes, this was a good thing so it covered the stomach
down to the waist, which is what the client asked for. The unique thing about
having panels is each of them will be done separately, meaning that they will all
look different and none will be exactly the same.
I decided on having five rows of panels so it was even and fitted covering the
front of the stomach. I also only put three panels in each line because too few
would have been too short and too more would have been too long, three was
the perfect amount for the right length bodice.
I wanted to include fabric into the panels, so one panel in each line had black
denim with white and blue latex behind it. I didnt want to overpower the bodice
with too much blue and white so for the panels I made them black and white

which went really well with the top half. Having one panel in which line with
denim behind it, linked it to the upper part of the garment well.
The garment that I created wouldnt be appropriate to wear on a daily basis, but
the brief mentions that it is for a catwalk. I feel that although my garment
because of construction may be uncomfortable or hard to move in it isnt a
problem as the client didnt say anything about it being easy to wear.
The theme of the project was living art, because I have used panels for the
bottom part of the bodice, when wearing it, the panels will move and flow with
the way in which the model is moving. I think this was an interesting factor that I
concerned from the beginning.
I feel so though my garment is extremely creative which is what the client
wanted, I know I have included a range of different Medias, techniques and
materials from both a graphic and textile background which is clearly illustrated
in my finished piece.