Kristina Tarasyuk. Apparel Design and Development

Transcription

1 Kristina Tarasyuk Apparel Design and Development

2 Table of Contents Letters to Venus Autumn in London Spring in Paris Legend Couture Stained Incandescence Memories of Peru A Study of Structure and Light

3 Summer This concept was inspired by a Grecian theme. I loved the colors in the columns, the sheer beauty of the draping of tulle, and the slight iridescence created by the overlaying tints. The letters made me think of an antique color palette that would be well reflected in gowns reflected the mood of the ancient world with a modern twist. I envisioned this concept being best portrayed in a collection of dresses. I though of a romantic theme from a faraway time. The mystic quality of te story Letters to Venus works well with the sheerness of faded colors. To explore this idea, I would use silks and fine fabrics that are elegant and luxurious.

4 Autumn in London I was inspired by an elegant London scene in the Fall. I used patternmaking methods to create what I envisioned from a 2-D idea to a 3-D reality.

5 Spring in Paris I was inspired to create a high end product through exploring the art of draping the fabric over the form. The concept is inspired by Paris. Legend I was inspired by a concept of folklore and the desire to experiment with Madame Gres techniques of draping. I gave the grecian inspired drape a modern twist fit for the red carpet. Madame Gres was inspired by greek sculptures and the pleated rhythms of the fabric reflected through marble.

6 Couture The sole focus in these projects was to apply couture techniques to construct a garment to a luxurious state. The use of these techniques provides a level of customization perfect for high quality designs. For both dresses, I carbon marked the pattern pieces onto the fabrics and thread traced the seamlines, dart and marks pertinent to the garments construction. The dresses were then basted and machine sewn. The bodice of the dress to the nearest right required underlining. I used organza to provide the required structure the the fashion fabric. There is a layer of silk charmuese over the bodice for a smooth feel against the body. The skirt has a chiffon overlay that is finished with a hand rolled hem.the neckline is finished with hand made piping. This dress is finished with a hand-picked zipper. The strapless dress required full underlining to aid the fashion fabric s performance. To create the best possible fit, I constructed a corselet that holds the dress up. It is made of silk charmeuse on the interior layer closest to the body, cotton braodcloth on the interior and a stable woven cotton for the shell closest to the dress on the inside. The layers are connected by channels sewn on to hold spiral steel boning in place. The seams on the bodice of the strapless dress were constructed with handmade piping to show theie placement. The skirt is lined and the hem of the fashion fabric is slipstitched to the underlining.

7 Stained Incandescence Spring I was inspired by a work of architecture from the 1940s. It is the Palm Court ceiling at the Plaza Hotel in New York. I envisioned a scene of a ball or some such grand occassion that calls for luxury. The bold lines of the ceiling s structure and the stained quality of the ceiling are softened by the color palette and the setting, which was applied with a 1940 s feminine accent through out the designs.

8 PANTONE 4635 C PANTONE 751 C Memories of Peru Summer This concept was inspired by Peru. I found the rustic colors perfect for a travelling theme. The mazes left by the local ancestors inspired this collection of print designs. I added elements of plant life in the patterns to reflect the peoples respect for nature through their customs. PANTONE 465 C PANTONE 405 C PANTONE 417 C PANTONE 480 C PANTONE 7534 C

9 A Study of Structure and Light My senior collection is inspired by the great cathedrals of Europe. I wanted to capture the essence of the time evoked by those magnificent structures. I feel this is reflected through the height of a cathedral, stainedglass windows, a drawing of the eye to travel upward towards the heavens and to reach light. My concept is this essence. The cathedral here is located in Norwich, England. It s construction was begun in 1096 in the Anglo-Norman style. The upper levels were modified in The vaulting was added during the 15th century. This reflects a passing of time that blends in beautiful harmony. Knotting of the fanning is reflected in my garments through bias-tube georgette to draw the eye to the focal point. The color of the stone is reflected in my choice of fabrics. It gently offsets the lighter colors that are seen through out the stained glass. The 15th century fanning detail will be used as a pleated organza that reflects the structure in a softer version of stone. The objective here is to capture the structure of the fanned ceiling and to present it in a way that is not overwhelmimg. To get the best representation of my collection, I went through a series of progressive sketches. I pulled inspiration from the different elements of structure and light in the cathedral. I experimented with different placement and focal points. From the skeches below, I chose what pieces would tell the story of my concept best. The arches are used through the dresses as part of the structure executed in soft cowling pleats. There was a time when meadow, grove and stream, The earth, and every common sight to me did seem Apparelled in celestial light... -Wordsworth

10 Reflections A Structural Analysis This shows the placement of the corselet under the dress. This is the front view, including the placement of the boning channels. The sleeves are made of chiffon. They are draped from the bodice seam and cowl over the upper arms. The hem is hand-rolled and stitched. The textural detail are cords of bias tubing made out of chiffon which are applied to the exterior layer with the slipstitch. To allow the best fit for the dress, the seams of the shell are princess seams. This half of the tail shows the the shape if it were layed out flat and the placement of the french seams. They are 1/8-3/16 wide and there are 6 of them on the interior. The second half shows the drape of the tail in its natual state. Reflections Light Stone The hem of the tail is sewn to 1 nylon horsehair to add a little weight. This will allow the ciffon tail to float. This shows the placement of the corselet under the dress. This is the back view, including the placement of the boning channels, zipper, and grossgrain ribbon.

11 Light A Structural Analysis The sleeves are made of chiffon. They are draped from the bodice seam and cowl over the upper arms. This shows the placement of the corselet under the dress. This is the front view, including the placement of the boning channels. The v is cut after the corselet is completed, before its attachment to the dress. Stone A Structural Analysis The sleeves are made of organza. They cross over to the back to hold the open v. This shows the placement of the corselet under the dress. This is the front view, including the placement of the boning channels. The v is a cutout with the chiffon bridging over. This pleated panel is out of organza. It is used to mimic the fanning of the cathedral ceiling in a softer way. The zipper is a small welt zipper. Its purpose is to ease the strain of the fabric of the body. The layered fabric are pleats that cowl. On the sides the cowl is upside down. At the back, the cowl is inverted, creating one continual shape. This is done to mimic arches. The pleated panels on the sides are like the center front v panel. They are made out of organza as well. They join together at the side seams like godets. The pleated side panels join a central v panel that trails the floor. This shows the placement of the corselet under the dress. This is the back view, including the placement of the boning channels, zipper, and grossgrain ribbon. The bottom of the dress is layered tulle that builds up gradually from the bottom up. It is longer at center back. This shows the placement of the corselet under the dress. This is the back view, including the placement of the boning channels, zipper, and grossgrain ribbon.

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13 Photographed by Alexis Turk Modeled by Arielle Hall and Lyndsey Evanson Thank You