Practice - Week 9

I began a work placement for a bridal studio 'Sandra's Studio' in London. I found the inspiration boards interesting, and compared them to the final garments. I helped to stitch inserts of a bodice, which required thick, strong thread with small, hidden stitches.

I practiced stitching lace onto fabric and was introduced to new machinery. I learned the importance of ironing seams in certain directions, as it affects how the garment hangs and avoids puckering the fabric. I was also introduced to lace and silk suppliers and participated in a client's fitting, where final adjustments were made to the bride's dress.

Pattern cutting

I was taught how to create my own pattern for a child's dress, which requires careful calculations and proportions. I ensured I cut out the fabric on-grain, to keep the pattern consistent. I attached the underlay to the outer layer using an industrial Brother machine, which allowed me to accurately sew. I found the overlocker difficult to use, as it required precision and excess fabric to work properly. Mistakes would ruin the garment, considering the machine cuts the fabric whilst it stitches.

My dress modelled on baby

I am pleased with the result I obtained, but found the process tedious and difficult. The floral pattern links to the Hand & Lock 'celebrations' brief, as flowers are used to celebrate special events such as weddings and birthdays. It also relates to the idea of "play" mentioned within the brief: my response being 'child's play'. My dress demonstrates technical construction skills, but is not an appropriate entry for the competition, because it lacks an innovative use of these skills.

Practice - Week 8

During my group tutorial somebody noticed my work resembled bridal garters. Due to the nature of my woven samples, Stephy Ann lingerie was suggested as a contextual reference.

Stephy Ann Bridal Garter - Context

I identified my subtle colour blending as a strength in my weaving. However, my peach rose inspired weaves are less successful than my previous weaves, because the wool weft shrunk when I washed them.

Modelling weave as garter

I photographed my weaves in the garter context, which is an improvement to my previous placements and showcased my weaves to their full potential.

Board submission for Bradford Textiles Competition

I produced a woven sample to enter the Bradford Textiles Competition, which focuses on embellishment within the weaving, with use of textured yarns, to comply with the  woven requirements of the brief.

Practice - Week 7

I was satisfied with my white floral samples, and decided to explore something more colourful. I focused on a different flower, dissecting the two tones of pink of the petal. This translated well within my weaving and created a distinct two-tone effect. The wool I originally used was unsuccessful, because it failed to capture the quality and elegance like the mercerised cotton did.

My weaving

I created crochet chains in response to the remaining colours of the flower. The centre of the flower was translated with yellow French knots to capture the rich texture. I altered the placement of my weaving on the body, as the structure makes it more suitable as a decorative cuff.

Embroidered weave modelled as cuff

I reflected on my aims and divided my time for the remainder of this unit in conjunction with my proposal. I aim to finish my first self-initiated project, enter two outward facing projects, participate in a bridal studio work placement and produce a darker second self-initiated project in relation to the commencing winter month, inspired by Alexander McQueen.

Time management plan

I discussed my proposed schedule with my tutor about my outward facing projects. I was advised to participate in work experience for one week, so that I learn essential skills within a reasonable time-frame. I was also advised to extend my time frame for my Hand & Lock project, to ensure I spend enough time developing a final piece.

Practice - Week 6

With each weave, I noticed improvement as my techniques became more refined. I also started to obtain a vision of my context: to produce neck pieces. The space between the two woven structures could offer an unusual element to my fashion pieces.

Embellished weave

I created floral forms that embellished the surface of my weave, which I placed in a repetitive format to create a sense of order. This was a contrast to the opposite side which was an entanglement of embellished yarns to emulate flower buds. However, the cornely moss technique created a more refined result. I also experimented by incorporating fabrics and chains of crochet. I attached sheer, lightweight fabric to the edge to create a ruffle, puckered with the embellisher. This developed my neckpiece to encapsulate the body.

The weave was modelled as a neckpiece, but the result I achieved was not what I desired. The nature of the weave was not appropriate for that surface of the body: the structure was incompatible, because I did not consider the width of the shoulders and shape of the neck.

Unsuccessful modelling weave as neck piece