This project is a continuous progress from the project “What Remains Is Future”, previously exhibited in 2018,2019 and 2020. The phrase suggests that a beautiful future can be created from what remains in the present time. The creation is an interpretation of the statement into a design concept with an aim to find new possibilities in fashion design.
In conclusion, the project is a visualization of how a beautiful future can be created from what remains, in other words, a new design can be created from the remaining parts. As the idea is reinterpreted in fashion context, the design process focuses on experimental approach, involving the integration of left-over fabric pieces remaining from cutting fabric into the construction of clothing.
The experimental approach allows new possibilities in the design process. Unlike working on 2-dimensional sketches in usual fashion design, the process significantly requires 3-dimensional experimentation to integrate the left-over pieces into the construction of the garment. In addition, unusual shapes of those left-over pieces become a key component that result in new design, creating unexpected shapes, forms and construction.
The project is aimed at visualizing the beautiful future created from what remains, through fashion design perspective. The idea will be reinterpreted within the fashion design context, aiming to find new possibilities in design methodology and to create new design in shapes, forms and constructions. This year, the project is aimed to emphasize its core idea through different experimental approaches.
The core idea of the previous project involves an investigation of the remaining parts in fashion design practice. Initial research shows that wastes, including unusable materials and disposable pieces are created from cutting fabric into clothing parts during garment production. Considering those left-over pieces as the remaining parts, the methodology of the project involves a transformation of remaining parts into something new through experimental approaches, for example, an integration of left-over fabrics into the garment construction or clothing parts. This year, the process is done by different experimental approaches.
The experiment on the jacket is aimed to reduce the left-over from cutting. Some pattern parts are eliminated and replaced by a simple shape in order to lessen the cutting. As for this jacket, the under sleeve is replaced by a simple rectangular shape, resulting in new shapes after assembling. It creates a simpler and more wearable silhouette.
The leftover fabric from cutting are stitched on transparent organdy and transformed into the new shapes by pleating technique, as a means to adding value and new dimension to the leftover. In addition, the left-over infusible interlining is used as a surface decoration. The left-over pieces on transparent organdy emphasize the contrast between the remaining pieces of the process.
Traditional tailoring techniques, such as basting stitches, padding and hand-sewing are used. Basting stitches are left on the piece in order to reflect the beauty of what remains from the process of making clothes.
As for pleating technique, it not only creates a new dimension for the design, but also reduces the left-over fabric as the design requires less pattern constructions.
Material includes tailoring wool, transparent polyester organdy, infusible interlining.
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