April 2014!

Well, today was my first time to myself in around 3 weeks, and luckily, it was one of those really loooooong days! I feel like I've lived a whole weekend today, which has been great. After a sleep in, it was off to the markets where sadly, no treasures were found, except this nice sparkly headband!
It was great to be back in the studio, where I started some of the adjustments on my WoW pieces, as well as the labelling, and I'm starting to think about the dressing instructions! (almost a dissertation in itself!) I looked at one of my pieces, which even I struggled to put on correctly at the photo shoot, but I think with the press-studs and labels I am applying to orient it, it shouldn't be too hard to get it on the right way! Although I know there are quick-change requirements for our pieces, I feel as though you can't take everything into consideration. I'm making a one-off art-work, which evolves underneath my hands, and it's hard enough trying to make it multi-fit, let alone quick-change friendly. I often use lacing as it is multi-fit friendly, but I know it is time consuming for dressers. What's a gal to do?! Lacing doesn't feature in my work this year, but I know that my pieces are time consuming to assemble!!
For the first time in my six years of entering, I am making changes after the photoshoot! Nothing major, just a little extra volume to make this epic piece go up another level, to hopefully a stage-owning presence!

Half scale

Full scale

As well as these bits and pieces, I was working on my TAFE Studio garment pieces as well. This week I found out that whilst 1/2 scale toiling has its uses, it can also be an incredibly hard step to go from half to full scale pattern pieces. I really struggled to translate the information, and was amazed at how awry some measurements went! It has been slow progress this week, but I feel that the learning process has been well worth it. In the end, there were technical adjustments combined with intuitive guesswork - I got there in the end! Final full scale toile coming up!

Tech drawing of my Studio project

Although I have missed some Technical Drawing and Photoshop classes in the last week (due to my office replacement leaving and me having to go in to work - pooh!!) I have also managed to keep up with that work. Technical Drawing is almost a meditative experience as you ink the lines over your pencil tracing - it's so easy to wobble and go astray, but if you tell yourself that you are going to be fabulous and breathe deeply, you reach a stage where you can do it! Sometimes....!! It's been an interesting experience formalising a very organic design into a technical drawing - but it can be done!!

Hakaturi

I'm also rather proud of my recent efforts in Photoshop to remove this image of one of my Hakaturi pieces from the photo background - a complex image to deal with! I've now done two of the three pieces, using different techniques as I explore this programme. Yikes, my eyes, my hand - this is not comfortable work!! I hope to make a composite image of the three pieces modelled by Callum (in the front garden) into one.
Life continues on in its' crazy path, but I seem to be coping with what it is bringing me. Could I maybe request a little more downtime? Oh that's right, if I get it, I fill it........

WOW shoot 2014 DONE!

WoW (ha hah!!)! It has been a huge weekend. The week finished on Friday with a mega day of patternmaking, when I finally learnt to grade! This is a little like what my homework looks like! Brain-hurty stuff for an organic, draping kind of gal!!!

Chefs Callum and Jezabel

I quite often get to go home early on a Friday - but oh no, not this one! No, not when I had to finish my garments for my photoshoot the next day! Still sewing at 1pm Saturday afternoon, I finally stopped before packing the last piece into the kombi - it all seemed too neat and easy - what had I forgotten? - ready to head off to the industrial wastelands of Salisbury with my fantastic handler, Jenelle, AKA Bunneh. We were lucky enough to be able to park right on our deserted site and unload the many components of the 2 garment shoot - nothing forgotten! We were well ahead of time, which was fortunate, as I found a few alterations that needed doing - so pleased I packed my hammer and rivets!!
Here is what the studio workbench looked like on departure!

Our fantabulous photographer Chantal arrived, and then both our stomachs went into hyperdrive as our wonderful model Jess arrived. Oh no - this was really happening!! We soon got over that though, and got straight into it. As you know, I can't show you the results of this for many months, so..... All I can say is thank you to my fabulous team of ladies for an amazing afternoon - love your work!!
We headed home, exhausted, but  needing to recharge in time for our celebratory pizza night, which was greatly assisted by Mr Haynes' pizza dough skills - thanks Jeremy! A great night in the courtyard was had, resulting in many full bellies!!
We enjoyed something of a sleep-in, before I sadly had to go to work in the office - I know, but at least it was quiet on a Sunday! I returned home to get ready to head off to Gallery 159 for the opening of Kay Faulkner's weaving exhibition.

Kay Faulkner, giving us the stories behind her creations

Us!

The embellishment plan....

 So, it's back to the last few weeks of TAFE for this term, where we are working on our design for our 'Studio' project. 1. I love that I have a subject called 'Studio'. 2. It's SO fantastic that we get to design, present in fashion sketches, pattern-make, dye, and embellish our creation. Squeeeeee! I have made a toile for my design in half scale - feeling blessed to have made it in silk taffeta scraps from Wendy Makin - can't find the calico!
I have chosen some designs that will challenge me - that's why I'm here!


It has to be said that the 1/2 scale designs are very cute - here I am ironing my mini-toile with my mini iron!!
That's all for now - hope you all had a great weekend, and stay tuned for more news!

Women Afoot

Kym Frame

This weekend got off to a great start on Friday night, when I attended the opening of Kym Frames latest exhibition, Women Afoot at Graydon Gallery, New Farm.
It was certainly a popular event, with the crowds barely able to move through the space, ceding way only to those bearing the absolutely delicious nibbles and drinkies! (You know by the weight when you pick up a finger sandwich how good it will be, and these did not disappoint!)
It was a beautiful exhibition, featuring Kyms' beautiful paper casts of feet, as well as photos documenting the process.

Janet de Boer

As castees ourselves, it was extra meaningful to myself, my sister and my mother to see them, and to hear and see the quotes of all the women involved. I was delighted to catch up with Janet de Boer, who opened the exhibition in great style, of course, wearing her fantastic Pendragon shoes. Congratulations Kym, on a beautiful exhibition and the fundraising for  the Second Chance Programme that it supported.

Saturday was spent entirely in the studio, working on one of the WoW pieces. Great headway was made, much damage to fingers sustained - hit with hammers, pinched in rivets, stretched around layers of leather trying to hold rivets in place, and spray painted. Hence taking it easy today and wearing my wrist brace! I felt comfortable slowing down, even with only one week to go before the photoshoot, due to Saturdays success. I'm quite excited now, and can't wait until I see the results. This year I have let both creations just grow and grow, and I am not looking forward to the next phase - figuring out how to pack them!! Hmmmmmmm......

WoW 2014 photoshoot looms!!

With my photo shoot for this years WoW garments only  10 days away, I am pretty focused on completing these gals at the moment! The last week or so has been interesting as the many components I have been making over the last few months come together to form the whole image. It is a time of interaction with the pieces – often I have no idea what step is next until I look at them and they tell me what they need.  In a way it is the most enjoyable, as it is a form of communication – I feel like I’m not making something on my own but conspiring with it to bring it to where it wants to be. Look, I know that might sound a bit nutty, but for a control freak, I feel like I hand a lot of my control over to the pieces themselves at this stage. I have to listen to them, and frankly, I enjoy that.  It’s almost a time of recklessness, where things just have to be done so I just do them!! And look, it must be working, because even my mother thought they were looking good when she cast her eyes over them today!! Whooooooo!!!

As well as the WoW work, I have been greatly enjoying my TAFE studies, which this term includes a subject called Studio, where our brief is to design, pattern-make, and embellish a garment.  This continues on from our design subject last term, where we had to draw inspiration from an artist, (in my case, Georgia O’Keefe) collect other inspirational images, and come up with a design based on these components.  Apart from natural imagery, I have found myself very attracted to the beautiful sculptural works of Iris Van Herpen and Yiqing Yin, as my visual diary shows.

This term I have had to explore at least 6 versions of a design, all of which I have based on a form of bomaki shibori embellishment of which I have had samples pinned on a mannequin for at least 6 months, just waiting to be utilised . 

The fact that we have to use calico for this is not too distressing for me, as at least it will have the body to hold the pleats! I will be able to dye it – I am thinking dip-dyed slate grey tones to fit with my Cloudlines theme – and I will brush metallic paint or foil on the pleated fabric whilst it is still on the pipe from shibori shaping. I hope to also include beading as a second form of embellishment, using large-scale beads covered in organza to contrast the pleated shapes.  

Playing with calico bomaki shibori tubes cut in half and stitched along the middle to create an edge 

I'm liking that action around the bottom!

The patternmaking for this is a great challenge – this is what I’m at TAFE for!! It was easy for me to begin with the embellishment side of things – that’s what I do – but the structure underneath is all important. With this in mind, I am trying to make it as much of a challenge as I can, with my two final designs featuring a keyhole back, low cut back, and tapered and supported bell-shaped skirt.

The long version which I would like to do....

The bell skirt version

The keyhole back

All of these features present some interesting challenges.  I had no idea how to modify the block to do this, but with some expert help from my teacher Helen Spencer, I have some patterns ready to toile. I don’t even want to think about the lining yet!

This weeks draping excercise

Draping is also a component of our patternmaking class, and I just love it! As a very visual person, I find it immensely helpful in understanding the principles of patternmaking. Not to mention just enjoying the beauty of this technique.

Sadly, I won't be able to show you pics of the coming shoot until September, but I know you are all used to that now! Hopefully though, I will be able to show you progress shots of my Studio progress over the coming weeks.

Musings on Wearable Art

Since first finding out about the unique spectacle that is the World of WearableArt in around 2006, it has slowly and insidiously worked its way into my life until it now is my life. I structure each year around entering and travelling to the World of WearableArt, and I’m back at college studying fashion so I can better realise the ideas I have. Over the past five years, I have established a profile strongly linked with my success in this arena. Just recently I was asked to teach a workshop on Wearable Art, and this is making me think about how it might be possible to do that.
Firstly, where does wearable art sit in the creative spectrum?

Iris Van Herpen

Although I believe that fashion is an artform, and is highly suited to express the creative concepts of the designer/artist, I think wearable art is in another category entirely. It’s a complete one-off, never to be made again, so is not meant to be a part of a co-ordinated range. It’s pure expression, unconstrained by most aspects of practicality. It’s often made in unusual and unrealistic materials, exploring their potential or using them in order to convey a concept. Both fashion and wearable art, however, use the human body as a base for sculptural works.(On further musing, I think that catwalk couture is wearable art, and the collections that spring from them are fashion - just look at the work of Iris Van Herpen!)
I also think there is another genre in between, produced by the Craft-Arts movement in (predominantly) America, which is often referred to as wearable art, possibly better described as artwear or ‘art to wear’.
This is the making of fashion items using artistic techniques like weaving, shibori and other dyeing techniques to make magnificent and unusual, one-off, but still, essentially, fashion items. Of these three related categories then, it would seem that wearable art is most strongly aligned with what is accepted to be art, in that it has no other purpose than to express ideas in a visual form
Wearable art, like most art forms, is a very personal thing. For me, it’s about exploring ideas that interest me, exploring aesthetics that appeal to me, and most importantly, problem solving using the skills I have, or gaining more in order to do so. In summation, I draw upon myself, as any artist does.
So how do I teach other people to do this? Do they want to know about the multitude of ways I make things or the way I come up with the ideas? If so, how can I do that?!
My brain is a constantly whirling storehouse of images and concepts, and I reach in and pluck one out to explore and develop. In saying this however, I do seem to remember a time when I would look inside for things and there was nothing. No fruit. Not a bean. Empty. I think what I am trying to say is that a large part of the process is a long term project, feeding the eyes and brain with images and ideas, as well as building up a library of practical skills. I feel that at this stage of my existence that I have an entire arsenal of images and techniques to explore.

However, with wearable art encompassing such an enormous breadth of materials, this could not be a technique based workshop, as I am currently doing with feltmaking. Perhaps a  presentation format would be more suited, surveying the different ideas and techniques I have explored, and directing people to further useful sources? Although some of my works have been widely publicised, a lot could be explained in further detail regarding conceptual development and construction. Would this help anyone?
Food for thought for me, and I welcome any discussion on this topic!

WOW 2014 works in progress

With only two weeks left of my first summer holidays in years, I have made a lot of progress on my two entries for the World of WearableArt this year. Originally, I thought I might be able to do another trio as well, but as usual, the pieces have grown, and grown, and still require many more hours work. I know that I will have plenty on my plate at TAFE with four subjects and the amount of work they will generate, as well as the contact hours. Although I can't really show you the pieces as a whole, I have taken some close-up shots which will show you what I have been doing without giving too much away!
The first piece is again made with moulded leather. This time, I have used a few more techniques - a little tooling for some texture contrast, some knife cuts to make feathers, and a lot more painting. Jacquard Lumiere paints are just gorgeous on leather, and they are topped off with some two-tone Starburst Sprays. A little stencilling through sequin waste has created a nice sense of scaliness, and livened up some large areas of leather which were in danger of looking rather dull. Today has not been the most exciting day in the studio, with a lot of repetitive work happening,  but I am most pleased with the results!

Another process which has gone well has been the application of gold foil to the silk organza that I have dyed. ( I love organza - either silk or synthetic, it has nearly always been a part of my WOW entries!) I used a lino cut pattern (I think it I based the design on cell structures) and printed binder medium on the organza before ironing on gold foil.
 The wonderful thing about having worked with so many different materials over the years is that I now have a wonderful stash of techniques and materials to draw upon when required. All those years of researching and playing, investing time and money, it all starts to pay off in the end!
The other piece I am working on is inspired by the room full of bridal off-cuts that I can't bear to throw out! I am usually a bit of a fabric snob, preferring to use all new materials. The experience of working with scrap pieces has been an enjoyable challenge. (The fact that I am working with high-end silks, satins and french lace has also softened the blow!) What has probably been the most interesting part has been being directed by the shapes that are already cut into the materials. It's a most liberating experience, because you'd never cut these shapes into the many metres of fabric you had bought - it would all be planned.
The other benefit is the ability to go over-the-top in material usage - instead of trying to be economical, I am trying to use as much material as possible! What luxury!
To the left are some embellished shibori spikes in tulle, and to the right, some tulle wrapped wire with luscious lace pinned on - I have a lot of sewing to do!
I can't wait to see these pieces come together after once again, months of work and thought. With the way I work, there is a lot of time between conception of the idea and realisation. But what else would I do if I were not doing this?

New Year in Tasmania

As this is supposed to be a textile blog, I will try and limit my references to cheese and wine consumed on this trip, but make no guarantees that the odd reference won't slip in... Our first afternoon was spent at Port Arthur, where aged beams with lichen caught my eye, as it also did on the brickwork of the buildings.
From here it was back to Hobart, stopping off at the famed Tessellated Pavement at Eaglehawk Neck on the way.


This was a most enjoyable experience, with many photos taken of the amazing sea flora growing on these geometric rock formations. Also of great interest was the kelp wash up - and these suckers weigh quite a bit!!
 In Hobart we greatly enjoyed our stay at Hadleys Hotel, which had a number of these amazing chandeliers in the foyer and bar. The TASTE festival was on, which provided a lovely sense of atmosphere and constant tapas bar for us! One of our first day trips was out to Grandvewe where we enjoyed a cheese platter for breakfast, with some seriously good Manchego style cheese and pinot paste as a superior quince paste alternative - made from wine-making waste! We found conversing with the lambs quite hilarious - I think some may have been going through puberty as their voices were breaking! Baaa-aaaaaaaa!

Whilst in Hobart we of course had to go to MONA, the Museum of Old and New Art. It was an impressive building, reaching into the depths of the earth. Perhaps not the best environment for someone with claustrophobia issues... Not a fan of most modern art at the best of times, combine this with compressed spaces, dim lighting, lots of people and the sensory assault of many screens, audio tracks etc,  - I nearly had a panic attack! Really, does modern art have to be this nasty?!!
Leaving Hobart, we went through picturesque Richmond (main objective - cheese!) Success! Another cheese platter breakfast at Wicked Cheese! Om nom nom!! This is the life!! ( Apologies, gratuitous cheese reference!) After an enjoyable walk through the town in fabulous weather, we headed out towards the East Coast, towards Bicheno. Here we found a fabulous rocky coastline in freezing cold winds (people, it's January - why am I wearing two coats and earwarmers?!!) Loved the grasses - very New Zealand - and was captivated by the kelp beds once again.
We ended up in St Helens for the night, and drove out to Skeleton Point at the Bay of Fires. More rocks, more fabulous kelp! Lying on the coastline, moving softly and slightly creepily in the tidal wash, they looked like a magnificent bed of Triffids! The colours were amazing, and photographed really well with the kelp being glisteningly wet.



 We found a lovely spot to stay in St Helens, and I enjoyed a late evening walk along the mudflats, gathering windfall leaves to use in eco-dyeing/printing. It reminded me of being on biology field trips with father, tramping through mud and revelling in the glory of nature. Wish you were here, Dad. Here is my haul - I can't wait to try them out!
On our way from St Helens to Launceston, we stopped off at St Columba Falls, where we really enjoyed the magical forest walk to the falls. We also stopped off at - surprise! A cheddar cheesery! Pyengana cheesery. Grilled cheese on toast this time, finished off with a honey ice-cream in delicious waffle cone. Oh yeh.
We ended our journey in Launceston before wending our way home. I think I will remember Tasmania as a place of cheese and kelp, which looks like New Zealand. It was an action-packed week, and I have left a lot of it out here - but that's called editing.
Returning to real life, it's back to working on my  2014 entries for the World of WearableArt in 40 degrees Celcius plus! Yahooo!! I'm already quite excited, and well on the way with two outfits for sure - hoping for more. We'll see what my study schedule allows this year....
All the best for 2014 Folks!