In this instalment of ‘body in motion’, we look at the close relationship between our chosen designers and dance. All our designers had at some point tipped their toes in the world of dance, either through finding inspiration in dancers, dressing them or actively collaborating with companies to produce costumes for performances. It is indeed interesting, if not revealing, that the more we think about the concepts of body/movement/performance, the more intertwined our designers and their creations become with the idea of a body in motion. Continue reading “Research – body in motion (dance)”
It is not about the pattern, it is all about the body and what the garments does with the body.
In this instalment of ‘body in motion’, we look at footages of fashionable poses during the 1920s and 40s. This research will help to inform the animations of the digital visualisations.
In this is the second instalment in the research series ‘body in motion’ we look at the training of models throughout the 20th century. This research will help to inform the animations of the digital visualisations.
The first fittings for the Charles James toile marked a pivotal moment within the project, it officially moved us from stage one (archival research and dress selection) to stage two (making process). In the research context, it also moved us to the next stage, that is thinking of the garments in relation to the body and movement. When Kitty, our fit model, first walked the Charles James toile across the corridor of the MA Fashion studio, she allowed us to identify not only the flaws in the toile that needed to be addressed, but also the importance of movement in achieving the right effect. Kitty is used to walking the current runway walk, with fast and strong steps coming from the hips (click on the link below).
This pictorial shoe research was conducted to inform the height of the 3D avatars (‘bodies’) that will wear the digital visualisations. It aimed to identify what kind of shoes were worn with the chosen dresses, looking at both photographs of models/clients wearing our designers’ creations (not necessarily the chosen ones) and contemporary shoes in the online databases of the Victoria & Albert Museum and The Metropolitan Museum of Art. The selected shoes range from 3 years prior to 3 years post the creation date of our chosen dresses. For instance, the Charles James dress dates 1945, so we looked at shoes ranging from 1942 to 1948. This allowance reflected the slower changes in footwear styles, mostly in the early 20th century.
Cindy Sherman’s series Fashion Pictures challenge the industry’s conventions of beauty and grace. Her first such commission, made in 1983, parodies typical fashion photography and features garments from the Comme des Garçons AW1983-84 collection. Continue reading “Comme des Garçons – Cindy Sherman”