Annual Spring Showcase, Opulence Reimagined: Old, New, Borrowed
Below are photos of the processes of my two designs for the spring fashion showcase, presented by the Fashion Merchandising and Design Society at Virginia Tech. Although I created, conceptualized, managed, and presented the show, I still wanted to design for the theme, and I am incredibly proud of how these looks turned out. It could not have happened without the incredible people in my life, as they helped me towards the last weeks of the show, while I rested and mended my timely broken hand. I also included photos of styled looks, courtesy of local Blacksburg boutiques.
Modern Medicine
The idea of this gown revolves around the development of early western medicinal theories during the European Renaissance, and the since developed dependency to modern day pharmaceutical medicine and wellness culture. The skirt is quite rigid, supporting the rest of the garment, symbolic to medicines interactions with today's society. Because each of the pieces in the show were urged to implement some sort of everyday material into the design, creating an elevated and ornamental piece, I decided to use medicine bottles for the skirt of the dress, creating what would be known during the European Renaissance as a Spanish farthingale silhouette. The corset and top-skirt of the dress would be constructed using store-bought fabric.
Initial Sketches
With the help of my dedicated grandmother, mom, and friends, I was able to collect 296 amber prescription bottles of varying size, all diverting landfill and recycling streams by being used in my skirt. I used soapy water and goo-gone to remove labels and adhesive residue.
Once cleaned, I used a rotary tool to freehand cut each bottle into 1/2 inch rings. This step of the process required trial and error. I first looked into using a band saw (too dangerous), then a 4 inch circular saw (teeth were absolutely destroying the bottles), then a pipe cutter (cracked the bottles), then a Japanese pull saw (too imprecise and tedious), and none of those avenues were right for this project. I finally got my hands on a rotary tool and it could not have been more perfect. The only issue stemmed from an environmental standpoint: it created some micro plastic dust. This was a severely enjoyable part of the project. Too much fun was being had as I spent my nights and weekends on this. Yet, I know the roommates did not appreciate the noise as I did this in our kitchen.
To attach the loops to the skirt, I created a waistband and point that would lay flat under the corset. I then sewed snap tape onto the edge, snapping plastic loops into place. From here, I meticulously attached the loops with orange cable ties, attempting to replicate a farthingale shape. This required effort and careful placement of loop sizes and cable ties. I also wanted the front of the skirt to lay flat to the body, while the rest of the skirt had volume and shape. This element was partially achieved, as I was unable to finish the rest of the skirt myself. However, it still turned out unbelievable.
Towards the end, I did have help finishing the project. I broke my hand two weeks before the show, but that didn't mean I was going to give up. Have you met me?? The photos above were taken the day after I had fracture repair surgery. While I was still able to cut the bottles with my left hand by anchoring the rotary tool between a textbook and a bible, my mom and partners in crime Natalia, Kate, Wilson, and others tirelessly helped me finish this huge undertaking of a project. I can't thank them enough. However, I finally knew what it felt like to have my own little atelier if you will :)
Here is the final product. I'm so proud of how it turned out. If time had allowed, it would have been great to add an over the top, period specific headpiece.
Starry Knight
The idea behind this piece was to create a design in an object a college town is never low on: aluminum cans. Often in design, it's the tab that is used to create something magnificent. Yet, I wanted to challenge myself. When I was in London during the previous year, I saw a dress with teardrop metallic discs of varying size, creating this almost silhouette of delicate armor. My initial intention was to create a full length gown of these discs, yet I decided to further complicate the process: I thought how epic would it be to not only create this armor, but an armor inspired by the science and theories developed on our galaxies, stars, and planets during the European Renaissance. I looked everywhere for six-pointed star stencils, molds, presses, etc., and ultimately had to design and 3-D print my own stencil and mold. It was, however, totally worth it.
I began by removing the top and bottom of each can, and cutting down the seam of the can. I flattened the aluminum by running the sheet along the edge of a rounded countertop. From there, I used the 3D printed stencils to trace stars onto the aluminum. I then punched each point using a 1/8th inch hole punch so I could connect each point using jump rings. I placed a star unto each mold, and pressed the aluminum, creating dimension and texture.
Creating the beginning of this bodice was actually pretty straightforward. I have experience in jewelry making as I grew up selling crochet necklaces and earrings, and enjoying making accessories as my craft while traveling (until I more recently discovered how to really crochet, and knit too), so creating a garment with jump rings was not too difficult of a technique to pick up. What was challenging, however, was the bust of the bodice. I wanted it to actually form around the bust, not just drape over. It ultimately came down to mapping out the stars on the bust one by one, playing with which points connect to which, and which points wouldn't connect to anything at all, or some points connected to two, etc.
I was relieved at the first fitting when the garment was fitting similarly to how I had envisioned. There wasn't exactly a way to create a toile of this for the initial fitting, it just had to be the real thing, and I just had to make sure it worked. Of course I fitted it to her measurements, but there's never a guarantee it'll work perfectly. In this case however, I was relieved to know my process was working. As creating the stars was an incredibly tedious process given the rudimentary tools I had to work with, I was unable to cut enough stars to create an entire gown. However, I was still incredibly impressed with what I was able to achieve in making a garment entirely of delicate metal, a process I was new to.
Showcase Closer
This design was worn by our head model, and created by my co-creative director and I. The ensemble features a ballgown skirt created using two large golden tablecloths sourced by thrifting, a seamless faux alligator leather corset fastened with d rings, inspired by a corset seen on Pinterest. We wanted this look to be a sort of high glamour meets streetwear look. Initially, the skirt was to have cargo pockets filled with crowned jewels and precious metals, however we ran out of time. It still looked incredible though and had a sweeping cathedral train. The look also features a modern golden ruff ornamented with chains.
The skirt was a simple task to make. The table cloths were oval shaped, making them the perfect shape for a skirt. On the first table cloth, we cut out the waist of the skirt, measuring where to cut from center front of the table cloth, determined by how long the length of skirt needed to be (ultimately, it was too long, and the skirt needed to be cut right before the she walked the runway, oops!). We then cut a seam down center back. With the second cloth, the top edge/hem of the center fold was going to meet the waist, while the entire length of the table cloth trailed behind. Creating the seamless corset was also a fun project. I didn't quite get the fit right, as there is creasing at the waist when she wore it, but it helped me to build my skills in corset making, as I was using a new material, and a new technique. I love how it turned out; the metal D-ring detailing is edgy and such a unique detail.
