’Letting the body and material together frame something that is worn.’
This work explores restrictions in todays embodied practice of dress. These restrictions affects us in three ways; The rules of the classic templates for garment construction, the use of clothes to shape the human figure and thirdly in our socially established structures of dress.
Through the investigation a method of shaping garments from the lines of roundness in the body is applied in an effort of doing the minimal to achieve maximum effect. By working directly on the naked body a closer relationship between textile and skin can be achieved. A relationship where traditional rules are questioned and replaced by the feel and intuition of the performing body. Letting the body and material together frame something that is worn. 6 m of fabric, transformed by the roundness of a hip – nude, while dressed in body lines.
This work aims to explore the linking of body parts and the internal interaction of material, body and motion in order to establish a new relationship between body and dress.
The common system in construction of dress is based on an absent body, consequently dividing it into predetermined pieces, where the parts of the body are being isolated from each other. With the intention of challenging those fixed structures, the work proposes a change of order in dress through a change of practice when investigating the linking possibilities within the body.
Based on the elasticity of the moving body and the haptic perception, in terms of constructing directly on the own body, the work presents a series of examples which connects and compose dress from new positions of the body. This should be considered a contribution to what is perceived as dress and bridging the gap in the discussion between body and dress.
My collection Claiming Space is based on an investigation of scale and lace through sportswear; it combines the rough and functional side of sportswear together with the lightness and sensuality of lace that become a new whole. The garments in the collection drape around and interact with the body through their length and scaled up silhouettes but still expose the body underneath through the semi transparent lace fabric that makes the clash so interesting. The outcome breathes a sort of seriousness and elegance in collision with bold colours and humorous shapes.
The aim of this work is to investigate a way of developing deconstruction through abstraction. It does so by looking in to borders. The borders created in between garments and sections in an outfit. Using techniques of reduction to abstract and deconstruct garments. Going away from the physical aspects of a garment and instead starting out in the metaphysical aspects.
Project “Color perception“ explores the relationship between knitted and transfer printed textile layers by focusing on color perception, patterns and their visual merging effect in order to create constantly changing surface expressions – animation/optical illusion effect in garments that can visually “react” and create strong communication with the audience by continuously showing the wearer’s/viewer’s interaction that is “displayed” visually. It invites the wearer to materialise his or her movements and the viewer to interact with it.
I developed a knitted fabric with great shape holding properties to be able to create illusion/animation effect between the layers. With this project I want to expand the thinking of patterns from being one surface decoration into multi-layered surfaces. I believe patterns have more potential in their essential way of being. I am working with the pattern designs through its “construction” – through layers.
Ella Josefin Larsson
What draws the line between a garment and an accessory?
Can the body itself become a part of the garment?
The present work strives to challenge our perception of the relationship between body, dress and accessory; by deconstructing the hierarchies of the everyday relation between them. Through the methods of surrealism, such as Exquisite Corpse, this work aims to use these research methods to push the boundaries of our creative process.
The collection is about definition trough undefinition. A study in menswear and tulle, based on the idea of motion blur.
F YOU F ME
This collection is an exploration of rectangular pattern construction combined with print. Focus was put on balance, ease and an organic flow through the shapes and between them, while the prints are complex and provocative.
Every garment has an inside print and an outside print, making it possible to follow the rectangles loop around the body. All the fabrics are digitally printed.
This work explores the act of wearing in relation to athleisure.
Sport clothing is no longer only a athletic uniform but also a part of everyday dress. When observing young men dressed in athleisure one can detect a certain way of acting or wearing. What we wear affects how we act think and feel.
Can studying different aspects of wearing lead to new expressions and approaches in fashion design?
The aim is to abstract the silhouette of athleisure wearing, in order to explore the interaction between the wearer and the garment and how this interaction effects the shape of the garment.
Action! Force of Fashion
This degree work aims to tell a story about the force in fashion.
Through forced material interactions on body the focus of this study is interaction. Interaction between contrasting materials, body and space and/or catwalk and audience. By forcing materials to act and interact on body this work aims to find new expressions and ways of making in fashion.
The collection is based on the phenomena of red carpet fashion and celebrity worship.
The project explores iconic celebrity fashion images as figurative prints in relation to the body. Images are taken in a direct approach towards the body and guides every step of the designprocess, from construction to material choices and visual expression. Presenting a collection which plays with perspectives of both print and body and comments on the way we consume both fashion and celebrity culture through imagery.
This work explores stereotypically feminine decorative elements with a focus on ruffles. This is done within menswear to open up new possibilities within clothing and fashion.
Ruffles are primarily used as an applied decoration within womenswear, ruffles should not only be used as an decoration to garments and furthermore not be limited to womenswear.
A desired outcome has been that the garments exhibit the positive and functional characteristics that ruffles give such as, increasing volume, less predictable silhouettes and interesting movement.
Future Fashion Epic Beauty
fuck your feeds – a room of my own
This work explores the relationship between body, object and space, how this can be translated to wearable garments.
The body is defined and passive objects are made active through interaction in the wearing. The work states a connection between the space around us and the space within, so by exploring a space we are exploring ourselves.
Further this work suggests how a shift of approach to the body, by working towards it rather than from it, can be a way to expand what fashion is and can be.
This explores how repair can be a tool for finding new use of existing materials. It is a search for both new approaches to composition and reconstruction of garments and aims not to restore, but to recreate value to unvalued items.
Vika (Tori) Im
The motive of this work is to illustrate and visualize the socio-political objectification of the female body, in order to suggest explanations as to how female body standards are derived as a result of this objectification.
The objective was obtained by exploring cut and assembling designs with powerful visual expressions, with sustainability as point of departure.
As the result eight ironic shapes/creatures were born out of one single pattern formula, the formula that would probably never be discovered if the principal point were not a fragile cork material.
Fashion design, at the Swedish School of Textiles fashion is understood in its broadest sense, making room for a vast number of perspectives on what it means to give form to the body: functionally and expressively.
In a degree show, this broad understanding of fashion design is very evident. Here questions like: What does it mean to wear something? What new textile techniques for creating new kinds of clothing can be found? What are the norms for arranging clothing in relation to the body? Or just simply: What is a garment?
Sounds strange? It is not.
Looks strange? It should not.
The collections simply present both principal and practical aspects of design vision that is the necessary foundation for any design practice for years to come.
– Clemens Thornquist, professor in Fashion Design at the Swedish School of Textiles