3D Bodice Mood Board

The above mood board was created with the most inspirational images influencing my designs. Including the sculpture made by James Capper, found from the primary research undertaken at the Yorkshire Sculpture Park. 

Pinterest was again the main site used to collate the images and discover new designers work. One example is Titania Inglis who designed  the geometric sculptures shown in the top left image. Her work stood out as being very unique working with similar shapes to the James Capper scultpures. 

The prism and triangular shapes were continued through the project. 

Trend Research A/W 16

At the beginning of the brief research was undertaken online into the forecasted trends of Autumn / Winter 2016, due to this being the season that the bodice will be made for. The main site used for this was Pinterest as it contains a wide collection of inspirational images. This allowed a number of different websites and blogs to be viewed, getting an overall picture of the trends. 

The main two trends which stood out to me are shown below, found on http://issuu.com/chantellefandino/docs/trendbook_cf  

The board below was made bringing together the images most relevant to the brief (3D strapless bodice- couture allure) but that still fit in with the trends of A/W 16. Photoshop was used to sharpen and arrange the images, helping develop new CAD skills in the process.

 

Toile construction and further adaptations

Once all adaptations had been made to the bodice pattern it was then time manufacture a toile. This let the production process be tested and allowed all mistakes to be made at this stage. Meaning the final garment manufacture should run smoothly. Once the toile was complete the fit of the garment tested and any alterations needed were changed on the pattern pieces.

The toile was made out of Scuba fabric which has similar properties and handle to neoprene which will be used for the final bodice. The sucuba was block fused with interfacing to thicken the fabric.   

Lay Plan

The above lay plan was produced in order to find the most efficient/ cost saving way of cutting out the pattern pieces. On reflection of this process the pattern pieces should have been placed on the fabric as above and then drawn around with tailors chalk. They could then have been flipped and pinned next to this leaving a more accurate lay plan image. And giving a more accurate measurement as to how much fabric is needed for one bodice.  

Toile Manufacture

Creating the 3D Bodice pattern

The  basic bodice block from the book by Martin Shoben and Janet Ward 'Pattern cutting and making up Voloume 1', was adapted to fit the size 12 Kennet and Lindsel concept 2008 mannequin. The steps taken to adapt this were discussed in the previous post ( http://fashiongarmentandconstruction.blogspot.co.uk/2014/10/fitting-basic-block-to-mannequin.html ). The block was finalised by the course tutor in order for students to adapt in order to produce the individual designs. 

The following steps were followed to adapt the pattern.
1. The strapless bodice pattern was traced onto pattern paper including all markings and seam allowance. 

12.      Firstly 3.5cm were taken from either side of the centre front line. Allowing for the gap in which the 3D panel will sit. This created one pattern piece which should then be cut in a pair rather than one front piece which should be cut to the fold.

23.      The seam allowance and 0.5cm was taken from the CB line. Allowing for the insertion of a visible zip leaving the fabric with a raw edge. The 0.5cm allows for the fabric to sit either side of the zip teeth on the tape.

34.      The paper pattern was then pinned together with the seam allowance on the outside and pinned to the mannequin allowing further adjustments to be made.

45.      13.5cm was marked on the CB for the dropped back. 

However having not sourced an open zip this length the trimmings business Arc Traders was called in order to find the smallest length zip they provide with a black zip tape and silver metal teeth. The smallest zip they provide with these requirements was 6” or 15.3cm. 

16.      The CB was then marked at 15.3cm instead of 13.5cm in order to accommodate for the correct zip length.

77. The top of the bodice was redrawn onto the pattern. Lowering the back to the marked point ensuring it was a smooth line. 

18.      The pattern was then unpinned from the mannequin and the new pattern traced off including all adaptations made. The seam allowance was also removed from the top and bottom of the pattern due to the final bodice having raw edges. The neoprene does not fray therefore there is no need to double over the fabric and hem, this would just produce bulk. 

Using the mannequin to adapt the pattern is an easy way to produce a close fitted garment. Enabling any changes to be drawn directly onto a pattern piece whilst being able to see how the shape/fit would look when manufactured in material. 

Open ended zip insertions

http://www.royalfashionist.com/look-book/#.
VGd85fmsWSo

Having chosen upon the final bodice design a open ended zip has been decided as the fastening. This is due to the ease in getting in and out of the bodice. Originally rouleau loops were going to be used however this is a more delicate method which didn't match the heavy neoprene material. Open ended zips are used for garments which open up completely for example the centre front of a jacket or coat. As well as the centre back of a bodice or corset allowing it to be wrapped around the body and then zipped with ease.

Double sided neoprene will be used to construct the bodice. Specifically black and white in colour. One of the samples was made from the neoprene fabric however due to the cost of the fabric scuba was used for the others. Scuba has similar properties to neoprene and was fused to add thickness before using for the samples. 

3D experimentation towards the final design

Working towards the final bodice design 3D structures were made in order to see how they may be constructed. Looking at the scale of the shoulder piece and the centre geometric panel. These two elements will later be experimented with in the 3D design workshop in order to get a more professional finish and using materials more suited to the final bodice. 

Developing my chosen design 7/10/14

The above design was chosen due to its abstract shape. The structure will bring a bold statement when taken to the catwalk due to being worn on the shoulder and standing close to the face, the place where eyes are usually drawn to. 

Working out how to make the structure stand on the shoulder was the first step. Online research was undertook to find images of similar structures of which could be the basics of my design. Ice hockey safety wear and police gun holsters were just some of the techniques found.