Split Beginnings

The Vent

Inspired by the technique of constructing the vent I proceeded to experiment with the process of sinking the needle into an exact finishing stitch and attaching an additional piece of fabric.

I decided that the constant within my experiment would be that of the cut fabric pieces, leaving their placement to act as the variable.

The wrong side.

This experiment resulted in an interesting surface texture, which produced two vastly different aesthetics depending upon whether the peaks were arranged in a concave or convex manner.

I like the thought of using this technique to create a textured piece of cloth which can then be integrated into the traditionally structured nature of the tailored jacket.

The Jet

The Jetted Pocket

Whilst constructing the jetted pocket earlier this week, it suddenly dawned upon me (I know this sounds daft) that the jet is merely a technique for creating a finished edge to a splice within a piece of fabric. A refined cavity. This led me to consider how a jet could be used if it were taken away from the context of a pocket and how would it be perceived if it were to be constructed in abnormal proportions. Would it still be considered a jet? Is the name referring to a technique or a recognizable finished product. I decided to create a very large jet within a substantial piece of calico to see how this could relate to the body.

The crisp finished edge of the jet provides visual contrast to the draping volumes of the calico, it draws the eye to consider the negative and positive shapes formed. Within this negative shape the organic form of the figure is emphasized.

I decided to place two smaller jets into the same piece of calico, allowing one to act as a neck hole and the other as an armhole. I think its quite nice to see the effect of gravity upon the fabric, the splice displaces the volume to drape from the peak of the cut. The lower edge of this jet naturally hangs into a cowl.

Allowing the fabric drape from the body, these jets have formed really beautiful, organic cavities which transform shape with movement.

Givenchy Resort 2011

A sharp, slightly extended shoulder provides the initial platform for Riccardo Tisci’s elongated silhouette, the sleeve falls smoothly from this shoulder, finishing at the hemline. The narrowed collar and high lapel also assist in achieving the desired rectangular shape. After constructing our calico toiles yesterday I am rapidly gaining a huge amount of respect for the highly refined technique of tailoring. Our lecture on fusing has also drawn my attention to the exceptionally crisp, smooth form within the body of the garment. The opening of the jacket rigidly sits precisely in place and lapel rolls beautifully in a heightened manner at the break point. Can this structural appearance be attributed to fusing alone, or would further internal measures need to be taken? The perfectly parallel hemline provides visual reference for the positioning of the jetted pockets (one, from what I can make out, has a flap), their wide placement upon the jacket is also significant in creating the overall desired look. Upon initial glance this may appear to be a rather mundane garment, however upon closer inspection the consideration within becomes apparent. How has such precision been created?

The bow tie

Why use conventional fabrics?