JTATM - North Carolina State University

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Materials and Technology Inspiring Apparel Design

In this section, we have displayed apparel images that have used technology and materials to inspire their design. These were identified at the International Textiles and Apparel Association's annual conference in November 2004. Undergraduate and graduate students and faculty submit photos or their work to a panel of judges. The selected garments are mounted for display during the conference.

We selected this set of garments for their use of innovative materials and/or technology for inspiration and execution of the designs. The designers and their design statements reflect the variety of creative processes that result from innovative materials and technologies. Enjoy your stroll through these images.

"Women Burning"

Amanda Diehl, Kansas State University

"Women Burning" pays homage to women and represents key events where individuals suffered through fire, bombing and chemical warfare, representing an ethical issue of social responsibility. Through surface techniques, images and newspaper articles from each event were manipulated in Adobe Photoshop and transferred to the velvet using lacquer thinner.

Rayon/silk velvet was hand-dyed twice with acid dyes, representational words were stenciled onto the velvet with textile ink, and free-motion stitching was applied to represent the heat of burning.

"Silver Lining"

Linda Capjack, University of Alberta

"Silver Lining" is a two piece quilted, sculpted and embellished evening dress consisting of a quilted corset and a full length skirt with a train, scattered with over a hundred light and dark silver organza petals. Inspiration for the bodice came from the Victorian era corset and a keen interest in contemporary interpretations of machine quilting techniques, including trapunto and stippling. Using silver microfibre faille, experimentation for the corset centered on combining quilting techniques of stippling and trapunto and parallel rows of stitching around the curved shape of the side panels. Rows of narrow "rat tail" piping are encased in bias strips of fabric and frame each stitched and quilted section of the corset.

"Feather"

Hanna Hall, Kent State University

The challenge of combining traditional techniques with nontraditional fabrications is expressed in this design. The image of a colorful Peacock feather was scanned, enlarged and digitally printed on silk organza. Featherhas two layers of the silk organza applied throughout the garment. The printed fabric is then basted with water soluble stabilizer and channels were stitched to enhance and interact with the printed feather image. Once the stabilizer is rinsed away, wool and alpaca yarns are carefully forced through the silk organza from the front and run the entire length of the channels created to interplay and function with the feather print. The changing colors within the piece are subtle and follow the printed colors. The cording changes color based on its path along the printed image on the organza. The yarn ends are exposed and brushed open to create further concentration on the surface.

"Transformation: Water/Fire"
(winner of the Wild Ginger Patternmaking Award)

J.R. Campbell and Jean Parsons, Iowa State University

Transformation: Water/Fire is the second piece is a series of designs intended for display as three-dimensional structures that sequentially deconstruct to become two-dimensional pieces for hanging or suspension. Creative development for this piece began with experimentation in paper to investigation the geometric possibilities of working with a basic square or rectangle into which various cuts are made. Through experimental draping, a second, curved cut was made to allow the piece to wrap the body in a spiraled configuration. The printed surface design was developed to both conform with and diverge from the cuts made into the square. Images were developed from both photo-realistic images and original abstracted art works. Two color-ways were created, one in vibrant warm tones and the other in cool colors. The two sides were digitally printed onto 100% cotton sateen.

"Sicilian Dreamscape"

Mary Jane Matranga, Purdue University

Sicilian Dreamscape explores the painting style of Giambattista Tiepolo. The purpose of this project was to discover ways to capture the essence of the 17th Century painter using dyes on silk instead of oils on canvas and to create a three dimensional painting that accentuated the female form.

The landscape, cloud formations, and Mediterranean surrounding the island of Sicily inspired the colors and surface design of this piece. The ancient temple at Segesta, Sicily, depicted on the dress, provided inspiration for the garment's columnar silhouette.

"Crinkle Dress"

Lisa Fratto
North Carolina State University

Keywords: Shibori, surface design, digital printing

The purpose of my design work was to create a digitally printed textured dress that appeared to be hand dyed using Shibori or similar tie-dye processes. I focused my design effort on digital printing of silk fabric and surface design techniques in order to achieve this goal. The inspiration for the Crinkle Dress came from noticing the updated and sophisticated tie-dye or gradient trend that was happening in fashion and from looking through various Shibori and surface design technique books and websites.

The dyed look was achieved by using the gradient and smudging tools in Photoshop. I chose dramatic colors that would display a range of hues from light to dark when printed on silk habutai fabric. The final design was printed using reactive dyes on a Stork TX-1600S digital printer. I used traditional Shibori techniques to set the crinkle texture on the fabric. First, the printed silk was soaked in vinegar for 15 minutes and then steamed for 15 minutes. Finally, pressure was applied to the fabric and then it was dried thoroughly.

The dress pattern I chose was a simple strapless silhouette with a full skirt, taken from a combination of Vogue and Simplicity patterns. I planned for the gold color to start at the top of the bodice, flow into a darker purple at the waist, and back into gold at the bottom of the skirt. The crinkle is horizontal on the bodice and vertical on the skirt. I also made a purple sash as an optional accessory to wear around the waist and pull the whole look together.

"Beggar’s Purse"

Lisa Parrillo Chapman
North Carolina State University

Beggar’s Purse was constructed to explore the relationship between structure and cloth. Cloth a linear, flexible, substrate takes form when draped on or held by a structure. We most often associate cloth with garments, which take on three dimensional shape and form when worn on the body. The sculpture, Beggar’s Purse, defines a relationship between the underlining structure and the fabric encasing it.

For this piece, seven silk panels were sewn together with a hidden inside casing. Thin, wooden dowels were inserted into the casing and held in place by sewn tack bars. On the bottom of the sculpture a wooden hoop was also encased. The shape of the silk panels forced the dowels to bend which in turn give shape to the silk fabric. The silk and wood formed a relationship, each one relaying on the other for form.

The 8mm silk haboti was digitally printed with reactive dyes. The shapes of the panels were created in Adobe Photoshop, utilizing vector functions. Once the pattern shape was determined the panels were filled in with a gradient and texture. The texture and colorant were digitally “painted” to achieve a hand resist effect. This texture was then warped to follow the contours of the panel, a process that could not be achieved by hand dyeing. This piece, though appearing voluminous, is very light weight - less than a pound.

Jia Ren "My Family"

Necia Tou
North Carolina State University

Shima Seiki's flat knitting machine and design software was utilized in producing the fabric as fully fashioned knitting technology was explored for design. The fabric consists of 5 weft knit structures: single jersey, reverse jersey, moss stitch, 1x1 rib, and 2x2 rib, knitted with white, acrylic yarn. The robe consists of 6 separate panel pieces: collar, front left, front right, back, and two sleeves.

This robe is one in a series of three in the kimono style. Each robe is a different color which represents the yin, the yang, and the balance between them when the black and white yarn colors are combined. Each member of my family is represented by their Chinese zodiac animal. Looking at the robe straight on, my dad (dragon) is located on the front left, mom (snake) is on the front right, brother (rooster) is on the left sleeve, and my sister (dog) is on the right sleeve. The Chinese character "Love" is illustrated on the center back above my boyfriend (monkey) and my sign (ram). The collar of each robe has my sister, brother, and my name (respectively) illustrated vertically on each side of the robe. I integrated the unequivocal sense of Chinese delicacy with Western ideation of generous material utilization. I wanted to create the feeling of warmth and comfort in a dramatic way.

"Waves on the Light"

Wonseok Choi
North Carolina State University

Wonseok Choi, doctoral student in the Textile Technology and Management program at NCSU, exhibited his work, "Waves on the Light." The inspiration for the design was based on the rhythm of waves and the beauty of light reflected on the sea. This sculptural piece displays a variety of lines which create the impression of movement as the enclosed light is spread. The knitted structure filters the light and distorts the light pattern in an irregular movement creating a mysterious mood. The geometrical shapes and the form of the shade knit in all white yarns create subtle surfaces of shadow and light. These strong curvilinear repeating patterns produce a dynamic movement of line.

This piece is one in a series of explorations of three dimensional knitted structures for apparel and interiors. The three dimensional shade was developed through the use of industrial knitting equipment, a 7 gauge V-bed knitting machine. Structures combining jersey and reverse jersey with transfer stitches were used to create the three dimensional effects. To avoid overheating the fabric, halogen bulbs are used in the light fixture.

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Last Site Revision:
April 19, 2005