So i had the opportunity to create a garment specifically for entering in competitions and I'd say it went really well. There were several executive design decisions made along the way but I think the most influential one was the decision to create a gown by hand. I've made a bit of a reputation for myself of being overly ambitious but it's one of the things I have the most fun with. What else is a risk if not a chance to learn?
It all started with an idea and a sketch started before my professor Anny even finished telling us about the project. That's the one on the left of course; the one on the right took a bit more time.
We'd been given our inspiration in the form of an artist and art movement. My assignment was Louis Marcousis and cubism. He tended to use a particular fish in many of his paintings that I grew attached to. I decided to go with that motif and knew that the gown should include certain elements of the fish.
I knew for sure that I wanted to make the garment look wet and a bit dingy so I did a battery of fabric tests to find the best way to represent that look on a runway. I had to consider distance from the audience, the flash of cameras, and several dyeing techniques.
I also felt that a nod needed to be made in the direction of the cubist movement which was all about the planes of the body. The best way to do so within my preferred aesthetic was to include a waist cincher that would be stiff amidst all the romantic layers of the rest of the dress. I chose layers of organza in varying blues because it would add depth and a peculiar pattern that meshes make when layered, which echoed the patterns of the fish.
My poor work station has seen better days.
This part of the gown had to be the most trying to sew by hand; organza does not like to stay in place.
Here I've assembled the layers and checked the style lines for fit one last time before retiring and dyeing the outer layer.
I used squeeze bottles full of grey dye and water and passed slowly over the fabric with each alternatively and took care to allow large amounts of pigment to settle at the ends. I only applied color from the lowest seam down and paid close attention to which way the dye was flowing. This created the unusual pattern at the bottom that added to the sense that whoever ends up modeling it has dragged themselves up from the deep to strut down the catwalk.
Here I've added the final stitches to the neckline before attaching the dress at the waist.
When I get the chance to review and revise my work the cincher will receive a bit more structure to keep some of the weight off of the neckline and I will add the final trim to the lower half of the garment.
For now though, I think it makes a striking impression. The hem has been made off kilter and uneven to the effect of having it swish back and forth when the wearer walks and adding to the otherworldly fish illusion.
I'd say it's pretty fierce.
