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.
selected this set of garments for their use of innovative materials and/or
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.
Amanda Diehl, Kansas State University
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.
Linda Capjack, University of Alberta
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.
Hanna Hall, Kent State University
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.
(winner of the Wild Ginger Patternmaking Award)
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.
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
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.
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.
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
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
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.
Ren "My Family"
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.
on the Light"
Carolina State University
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
the light pattern in an irregular movement creating a mysterious
mood. The geometrical shapes and the form of the shade knit in
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.