EXEMPLAR FOR ACHIEVED

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1 Level 3 Technology (3.5) Title Demonstrate understanding of how technological modelling supports technological development and implementation Credits 4 EXEMPLAR FOR ACHIEVED THIS PDF ALSO CONTAINS A PRINTABLE ANNOTATED VERSION

2 Dance Costume for Movie Preview In this report, I will demonstrate how I used a range of technological modelling to assist the trialing, development and refinement of my design idea. Within the different models I will discuss the information I gained and how each model assisted with decision making. I will investigate what forms of Technological modelling assisted decisions throughout the process and identify functional modeling and prototyping throughout the process. Brief Sara, a friend of mine has been asked to participate in the opening of the movie Black Swan. Before the movie, there will be drinks and nibbles. During this time, my friend has been asked to perform a short six minute contemporary dance performance. It will be in the foyer of the movie theatre. She has asked if I would design an outfit for her to perform in. I will design a costume to be worn to the premiere performance before the movie of Black Swan. The outfit needs to: Show that it is inspired by the movie Black Swan Allow the dancer to move freely and be revealing enough to show her body movements and positions. Look well finished and professional up close when people view the performance as well as talk to her after her dance. Be black and white to depict the movie. Have a professional contemporary dance design that represents the flair and creativity of the dance. Discussion Initially I began my research with a discussion with Sara about what she would like to wear. We then decided that by watching the film together, we might be able to brainstorm some ideas and look at what we both like and didn t like. This brought out a lot of ideas and clarified some aspects that Sara and I agreed would not be suitable and also gave us some ideas on what we could do. As we were watching the movie and discussing it, I completed a few rough sketches as a visual aid to get some feedback from her as sometimes it is difficult to discuss fashion, using words. Page 1 of 12

3 At first I thought a tutu or more traditional longer flowing dress might be a nice idea, but Sara told me she prefers shorter hemlines and because the dance is contemporary feels that a tutu is not suitable. Sara is great to work with because she enjoys discussing things and has very strong ideas on what she likes to dance in, and as she is the one who must feel confident while she is dancing, I needed to keep discussing ideas with her so that she would feel good performing in the outfit and so that the outfit would be suitable for the range of movements she will perform. Investigating the context Through watching and discussing the movie together we were able to get a feel for what we thought was suitable and unsuitable for her performance. I found out that she prefers to dance in clothing that does not restrict her legs, and have a short hemline. This lets the audience see her legs moving and her dance better. Together we realized that it is important that she looks good close up. Unlike most performances the audience will be not be metres away. Also, her outfit can be more revealing than most ballet costumes because of the artistic merit of her performance and that modesty is not a huge issue for Sara. As the movie has some quite shocking scenes it might almost be appropriate to have a controversial or at least eye catching for Sara to wear. After all, some modern dance performances are done completely topless and considered appropriate. After discussion with Sara, I realize that a key issue is to keep the outfit classy, artistic and stylish and will have to be careful, not to make the outfit look cheap or tacky or this will defeat the purpose of the whole performance and reduce the artistic merit. Page 2 of 12

4 Doodle Sketches I began using illustrations to express my concept ideas. They are doodles but more complex than the basic type as I like to show detail even with my initial ideas, especially if I am showing my first thoughts, I want people that I consult with to understand my ideas easily. I feel I am a competent illustrator and that by using pencil that I would be able to communicate my ideas to the primary and secondary stakeholders to allow them to critique my initial ideas and give feedback, this would allow me to refine my ideas feeling that I had conveyed my ideas with accuracy. I used pencil doodle sketches because they are quick and easy yet still get a wide range of conceptual ideas across easily. Doodle sketches also allowed me to quickly get some ideas down on paper while having a discussion with Sara. We are able to discuss ideas and I am able to record them to clarify we are talking about the same things. Sometimes it is difficult to discuss ideas using words and mixed messages and misinterpretations can occur. I also add actual photos of ideas that help strengthen my sketches and might bring other elements in during discussion. Explorative / Developmental sketches I used explorative sketches when I had more of an idea of the design direction I was heading in. This type of sketch lets me focus more on the minor details of a range of designs that are not fully refined yet. I am able to experiment with the Elements of Design and although full details are not explored, the basic visual ideas are able to come through stronger. I also used explorative sketches as they allow me to considering form, function, style, shape, types of material and alternative ideas. From these sketches, Sara realized that she did not like a skirt for the bottom half as some of her Page 3 of 12

5 movements required modest coverage in the crouch area and that she definitely wants a short hemline and to show her shoulders on the top part. These sketches have ruled out some of the general ideas I had in my head and will allow me to move on to refine my ideas. I will not use emotional sketching in my work because I feel that I do not need to sell the idea and convince Sara to choose my work. Through illustration, I was able to quickly display a wide range of ideas without investigating and completing construction techniques, such as prototypes, which I have no time to complete at this stage. If I constructed all these concept ideas it would be a waste of time, cost and resources. As I wanted to make the designs look appealing, I did not use working drawings as these tend to show design details and be more appropriate for a final design and to show to a sample machinist during the mass production process. Illustration also allowed me to discuss with stakeholders if they felt that the ideas linked in well with the movie. I was able to show other dancers, the choreographer, Sara s dance teacher and the project manager these illustrations to see if they considered the concept ideas appropriate for a dance performance. My next step is to consider all this feedback and develop some of the more popular ideas to show stakeholders. Sketches are a way of making my ideas look magical and more flattering and interesting when I discuss them with people. They reduce the risk of wasting time and effort on ideas that are not going to be constructed as they are quick to produce. Sketches are an inexpensive and as I use pencil, the materials are readily available. Sketches act as a visual aide to show stakeholders the appearance of a garment, it can also display the Principles and Elements of Design and how they might be worn together. However, Illustrations do not show how an outfit will fit or sit on the body, although with skill an illustrator is able to show how different fabrics can affect the design and possibly drape on a person. I was unable to use computer programs as I do not have the skill and would also not have the time to learn them within the timeframe given. The feedback from discussing my concept illustrations with stakeholders was the skirt is too long and the audience cannot see the dancer's legs. From this feedback I decided to develop the lower half of the garment by making the hem-line shorter with a little flair on them. Thinking Sketches After developing my ideas I still felt at this stage illustration was the best form of modelling. There is no use making any samples or toiles yet as I would be wasting time and money doing so, and if I didn t do a good job of the toiles and they were messy, it might detract from the actual designs and put people off them. This time, I decided to complete a range of thinking sketches these show colour and more detail of the design features. This form of sketch identifies how I am able to show the detail of the bodice front i.e. the lines across the bust-line, the straps and the length of the garment. I also added fabric swatches to give stakeholders an idea of the textile materials that could be used. This would also possibly give an idea of how the garments would hang on the body as well as how the fabric might move with the body when dancing. I found that by adding the fabric swatches, this opened up more Page 4 of 12

6 ideas for discussion and gave people a greater understanding of how the garments might look on the body in an easy and cost/time efficient manner. At this stage, I realised that when completing functional and practical modelling methods, that cost and time are connected factors. These two factors also related to my skills base and I felt that the greater my skills base in certain areas, the more I was able to experiment with different models. E.g. Because I am a competent fashion illustrator I used illustration as much as I was able to. This became an economical, cost and time efficient as well as a low stress method of functional modelling that I found stakeholder were able to easily give feedback on and assist in my decision making. Moodboard I used a moodboard to depict a particular mood to sell the ides and get stakeholders excited and interested. Mood boards are used to create a style Page 5 of 12

7 Final Design Drawings These give a close look at what the garments might look like as an entire outfit together. They can be slightly romanticized using exaggerated drawing techniques. These drawings show detail and design features such as gathers, pleats, fastenings and seams. Production Drawings I used production drawings to communicate the construction details of the garments. This method of modeling allows a manufacturing team to produce the garment exactly the way the designer wants it. A sample machinist would be able to use these drawings to draw up a pattern ready for the manufacturing process. It also establishes whether suitable and desirable techniques are able to be completed and assist with the functional modeling aspect of the design. At this stage it is important that we know that the garment is able to be constructed to the finished standard required, using the correct sewing techniques. Page 6 of 12

8 This affected my decision making because as I sketched the back of the garment, I realized the importance of the fastenings of the undergarment and that they need to be well hidden under the top garment and should not be seen sticking out or catching onto the over top. These drawings also let me visualise what the rolled hem and fastenings would look like on the garment. Toile It was then time to complete a calico toile. Calico is a cheap neutral and natural fibre. I prefer to use natural fibres as they are easier to work with and have less impact on environmental waste. Calico has a similar drape to the fabric I want to use, so it will give a realistic idea of how the garment will sit and drape on the body. As the calico is opaque, it allows me to see the outline of the garment and how it will sit on the body. Page 7 of 12

9 The purpose of the first toile I completed was to see if the pattern was correct and sitting the way I wanted it to. Although calico does not represent how the garment will finally look, I use this fabric as it was cheaper than other fabrics available to me and allowed me to save money for the final garment fabric. I felt that by making a mockup in this, it would show me how the style of garment might look on the body. I also like how the calico is a neutral colour and does not distract from the actual design of the garment. I have used old bed sheeting before for mock ups, but the swirly patterns and brown and orange colours detracted people from the shape and fit of the design. It was embarrassing to show my 3D designs to people in this form and felt the extra cost for calico was worth it to impress my stakeholders. Fitting the Toile After trying it on Sara, I was also able to get her to practice some of her dance routine and see how easy it would be to move in it. The top looked great and did not ride up on her when she raised her arms. Sara told me that she felt comfortable in it and that although the top did not stretch, it moved well on her body as she danced. It is important that Sara is able to try on a toile to dance in as a test. Pattern Alterations When I altered my patterns I used plain unbleached brown paper the teacher orders in a huge roll from the local paper supplies store. I use this for my pattern alterations as it is sturdy, does not rip easily and does not have any Page 8 of 12

10 print on it. I also like the fact that it is unbleached and reduces the toxic waste produced in the manufacturing of it as the bleaches harm the environment. When I visited fashion school on a tour, I noticed they use the same brown paper and keep the larger scraps for smaller pattern pieces to reduce the wastage. During the pattern making process I needed to complete at least 6 pattern alterations for the top. This involved the development of the undergarment that had lots of small pattern pieces. I used a lot of the pieces of brown paper left over for smaller pattern pieces. This also reduces the environmental wastage of paper. Our teacher has a separate box for any paper scraps to be disposed of in the paper recycling bin. With a class full of students, this also reduces the cost of pattern development long term. Fabric Selection I used a range of fabric samples to determine the fabric choice available for the outfit. There were a few issues with the selection of fabrics as I was unable to purchase the fabrics in the colours I wanted. I was able to discuss and show a range of primary and secondary stakeholders these fabric samples to get their opinions. It is a stage I find that a lot of people get excited about; they really start to be able to visualize the garment in its final state. I usually show people an emotive sketch with the fabric samples as it provokes a particular mood. When using different modelling techniques, it is important to present ideas in a well finished and professional manner as it helps to sell the idea better. Page 9 of 12

11 Construction Samples After this, I knew that it was important to complete some samples of construction methods so that I could get the finishing techniques sitting well and to ensure they would be functional as I knew that Sara would be putting a lot of stress on some of the seams when dancing and that the hems and finishing techniques needed to sit well in the body especially as I intended to use a very light, transparent and floating fabric. Seams I trialed a range of seam techniques on a similar weight fabric. The samples were Plain, Industrial French and Bound seams. By completing partial functional models using the actual fabric, I was able to test techniques quickly and cost effectively and determine which method was the most suitable. I found the most suitable method was French seams on the structural parts of the garment and bound edges to finish the hem, neckline and around the arms. When I pulled and stretched at the seam, it was also the most flexible without tearing and both Sara and I liked the way that you could not see the raw edge or finish on the inside. Hem Samples The hems I trialed were as follows: Rolled, Hand-stitched, Zig zag, Overlocked and Turned over and Topstitched. The most suitable was rolled hem because it sat flat and did not curl up. As it was the lightest form of hem, it also allowed the fabric to flow and sit softly unlike the other methods. Once again, part samples allowed a quick look at what techniques would look like on the fabric. Second Toile For the second toile, I decided to use a lighter weight fabric. I found an old pink night garment in the garage that had a similar drape to the silk I want to use in the final garment. By using this for my final toile I was able to experiment with techniques that I thought might suit the final garment. I used this method because it gave me a better idea of what the final garment might look like and that it was cheap. Throughout this process I was able to experiment with a range of construction techniques I had not used before such as a rolled hem and self enclosed seams. From the first toile, I worked out the fit. Information I gained from the second toile was the appropriate use of techniques and processes. Page 10 of 12

12 It is important to complete a toile because it acts as a three-dimensional model that represents fit and how it will hang on the body. During the toiling process I use the body form in the same size as the wearer because it is more convenient to access a body form during the construction process and I find that I like to keep an element of surprise and excitement each time that Sara tries the toile on. In the past, I have found it becomes tedious to have too many fittings with the primary stakeholder and can become disheartening for both the designer and the client if the client is involved at every single part of the decision making process. I received advice from friends and family members and sometimes got my little sister to try the outfit on, as she is the same size as Sara. This way, each time Sara tried the garments on there was still an element of excitement to be able to see the changes occurring. Page 11 of 12

13 Trial In Situ When the garment was tested on Sara in the foyer of the movie theatre, it fitted her perfectly. The toiling processes had helped me get the fit right and ensure that she was able to move freely and not fall out of the garment in the wrong places. We found that when we Sara wore the outfit that the contrasting colours made the silhouette of her body stand out well when she danced and that the movements in her choreographed dance piece were accentuated by the light floating fabrics. No seams ripped and she will be able to wear the item with confidence on the night of the performance. The lighting crew felt that they would need to increase the intensity of the spotlight to make sure that the transparent fabric highlighted the under garment detail well. Designing and constructing this outfit was important to me as it was the first time I was able to construct a garment that was going to be displayed in a public place. I knew that this garment could have an impact on my future as a designer because if it had an impact on the audience, they may remember it and look out for my work at a later date. In the fashion industry, positive and negative public exposure is part of the branding process and it can have a huge impact on the success of a designer. I aim to reduce risks of poor design work through the use of Technological Modelling in the Design process. Overall I was pleased that I used the different methods of Technological Modelling throughout the design process. Even though it is very time consuming, compared with just making a garment straight away, it reduces the risk of things going wrong and allows testing to increase the chances of a successful end product. I was happy with the outcome of my project and look forward to using the different Technological Modelling methods on future projects. Page 12 of 12

14 Level 3 Technology (3.5) Title Demonstrate understanding of how technological modelling supports technological development and implementation Credits 4 EXEMPLAR FOR ACHIEVED PRINTABLE ANNOTATED VERSION

15 Dance Costume for Movie Preview In this report, I will demonstrate how I used a range of technological modelling to assist the trialing, development and refinement of my design idea. Within the different models I will discuss the information I gained and how each model assisted with decision making. I will investigate what forms of Technological modelling assisted decisions throughout the process and identify functional modeling and prototyping throughout the process. Brief Sara, a friend of mine has been asked to participate in the opening of the movie Black Swan. Before the movie, there will be drinks and nibbles. During this time, my friend has been asked to perform a short six minute contemporary dance performance. It will be in the foyer of the movie theatre. She has asked if I would design an outfit for her to perform in. I will design a costume to be worn to the premiere performance before the movie of Black Swan. Summary of Comments on Dance Costume for Movie Preview Page: 1 Author: Date: 2/10/12 1:30:51 PM Modelling that identifies the evidence relating to competing and contestable factors is not apparent. The outfit needs to: Show that it is inspired by the movie Black Swan Allow the dancer to move freely and be revealing enough to show her body movements and positions. Look well finished and professional up close when people view the performance as well as talk to her after her dance. Be black and white to depict the movie. Have a professional contemporary dance design that represents the flair and creativity of the dance. Discussion Initially I began my research with a discussion with Sara about what she would like to wear. We then decided that by watching the film together, we might be able to brainstorm some ideas and look at what we both like and didn t like. This brought out a lot of ideas and clarified some aspects that Sara and I agreed would not be suitable and also gave us some ideas on what we could do. As we were watching the movie and discussing it, I completed a few rough sketches as a visual aid to get some feedback from her as sometimes it is difficult to discuss fashion, using words. Page 1 of 12

16 At first I thought a tutu or more traditional longer flowing dress might be a nice idea, but Sara told me she prefers shorter hemlines and because the dance is contemporary feels that a tutu is not suitable. Sara is great to work with because she enjoys discussing things and has very strong ideas on what she likes to dance in, and as she is the one who must feel confident while she is dancing, I needed to keep discussing ideas with her so that she would feel good performing in the outfit and so that the outfit would be suitable for the range of movements she will perform. Investigating the context Through watching and discussing the movie together we were able to get a feel for what we thought was suitable and unsuitable for her performance. I found out that she prefers to dance in clothing that does not restrict her legs, and have a short hemline. This lets the audience see her legs moving and her dance better. Together we realized that it is important that she looks good close up. Unlike most performances the audience will be not be metres away. Also, her outfit can be more revealing than most ballet costumes because of the artistic merit of her performance and that modesty is not a huge issue for Sara. As the movie has some quite shocking scenes it might almost be appropriate to have a controversial or at least eye catching for Sara to wear. After all, some modern dance performances are done completely topless and considered appropriate. After discussion with Sara, I realize that a key issue is to keep the outfit classy, artistic and stylish and will have to be careful, not to make the outfit look cheap or tacky or this will defeat the purpose of the whole performance and reduce the artistic merit. Page: 2 Author: Date: 2/10/12 1:35:46 PM The modelling is sketched and discussed, the contestable factor is the hemline, the evidence is stakeholder preference, the decision is shorter hemline no tutu. Author: Date: 2/10/12 1:38:48 PM The modelling is stakeholder discussion within performance context, the evidence is understanding of audience s spatial relationship to the performance. The contesting factors costume designed for long view inspection of close up inspection. Other contesting factors are modesty and artistic merit. The decision is prioritise close up view of costume and artistic merit over modest coverage. Author: Date: 2/10/12 1:39:11 PM The modeling is stakeholder discussion the decision from the process is a list of consciously priorities for resolving competing and contestable factors throughout the development. This is an acceptable explanation of the modeling process in context of practice. Page 2 of 12

17 Doodle Sketches I began using illustrations to express my concept ideas. They are doodles but more complex than the basic type as I like to show detail even with my initial ideas, especially if I am showing my first thoughts, I want people that I consult with to understand my ideas easily. I feel I am a competent illustrator and that by using pencil that I would be able to communicate my ideas to the primary and secondary stakeholders to allow them to critique my initial ideas and give feedback, this would allow me to refine my ideas feeling that I had conveyed my ideas with accuracy. I used pencil doodle sketches because they are quick and easy yet still get a wide range of conceptual ideas across easily. Doodle sketches also allowed me to quickly get some ideas down on paper while having a discussion with Sara. We are able to discuss ideas and I am able to record them to clarify we are talking about the same things. Sometimes it is difficult to discuss ideas using words and mixed messages and misinterpretations can occur. I also add actual photos of ideas that help strengthen my sketches and might bring other elements in during discussion. Explorative / Developmental sketches I used explorative sketches when I had more of an idea of the design direction I was heading in. This type of sketch lets me focus more on the minor details of a range of designs that are not fully refined yet. I am able to experiment with the Elements of Design and although full details are not explored, the basic visual ideas are able to come through stronger. I also used explorative sketches as they allow me to considering form, function, style, shape, types of material and alternative ideas. From these sketches, Sara realized that she did not like a skirt for the bottom half as some of her Page: 3 Author: Date: 2/10/12 1:40:30 PM Identifies modelling process, identifies type of evidence and explains use of evidence in decision also explains why this modelling is as a personal choice. Author: Date: 2/10/12 1:41:15 PM The modelling identified above is explorative sketches. The evidence is stakeholder feedback upon design element details, decisions are made to resolve potentially competing factors e.g. degree of coverage, for example, exposed shoulders. On the whole this is an explanation that amounts to a demonstration of understanding. Page 3 of 12

18 movements required modest coverage in the crouch area and that she definitely wants a short hemline and to show her shoulders on the top part. These sketches have ruled out some of the general ideas I had in my head and will allow me to move on to refine my ideas. I will not use emotional sketching in my work because I feel that I do not need to sell the idea and convince Sara to choose my work. Through illustration, I was able to quickly display a wide range of ideas without investigating and completing construction techniques, such as prototypes, which I have no time to complete at this stage. If I constructed all these concept ideas it would be a waste of time, cost and resources. As I wanted to make the designs look appealing, I did not use working drawings as these tend to show design details and be more appropriate for a final design and to show to a sample machinist during the mass production process. Illustration also allowed me to discuss with stakeholders if they felt that the ideas linked in well with the movie. I was able to show other dancers, the choreographer, Sara s dance teacher and the project manager these illustrations to see if they considered the concept ideas appropriate for a dance performance. My next step is to consider all this feedback and develop some of the more popular ideas to show stakeholders. Sketches are a way of making my ideas look magical and more flattering and interesting when I discuss them with people. They reduce the risk of wasting time and effort on ideas that are not going to be constructed as they are quick to produce. Sketches are an inexpensive and as I use pencil, the materials are readily available. Sketches act as a visual aide to show stakeholders the appearance of a garment, it can also display the Principles and Elements of Design and how they might be worn together. However, Illustrations do not show how an outfit will fit or sit on the body, although with skill an illustrator is able to show how different fabrics can affect the design and possibly drape on a person. I was unable to use computer programs as I do not have the skill and would also not have the time to learn them within the timeframe given. The feedback from discussing my concept illustrations with stakeholders was the skirt is too long and the audience cannot see the dancer's legs. From this feedback I decided to develop the lower half of the garment by making the hem-line shorter with a little flair on them. Thinking Sketches After developing my ideas I still felt at this stage illustration was the best form of modelling. There is no use making any samples or toiles yet as I would be wasting time and money doing so, and if I didn t do a good job of the toiles and they were messy, it might detract from the actual designs and put people off them. This time, I decided to complete a range of thinking sketches these show colour and more detail of the design features. This form of sketch identifies how I am able to show the detail of the bodice front i.e. the lines across the bust-line, the straps and the length of the garment. I also added fabric swatches to give stakeholders an idea of the textile materials that could be used. This would also possibly give an idea of how the garments would hang on the body as well as how the fabric might move with the body when dancing. I found that by adding the fabric swatches, this opened up more Page: 4 Author: Date: 2/10/12 1:41:44 PM The modelling is concept illustrations, the evidence is further and different stakeholder feedback, the decision is length of skirt which is part of the artistic/ modesty set of contesting factors. Page 4 of 12

19 This page contains no comments ideas for discussion and gave people a greater understanding of how the garments might look on the body in an easy and cost/time efficient manner. At this stage, I realised that when completing functional and practical modelling methods, that cost and time are connected factors. These two factors also related to my skills base and I felt that the greater my skills base in certain areas, the more I was able to experiment with different models. E.g. Because I am a competent fashion illustrator I used illustration as much as I was able to. This became an economical, cost and time efficient as well as a low stress method of functional modelling that I found stakeholder were able to easily give feedback on and assist in my decision making. Moodboard I used a moodboard to depict a particular mood to sell the ides and get stakeholders excited and interested. Mood boards are used to create a style Page 5 of 12

20 This page contains no comments Final Design Drawings These give a close look at what the garments might look like as an entire outfit together. They can be slightly romanticized using exaggerated drawing techniques. These drawings show detail and design features such as gathers, pleats, fastenings and seams. Production Drawings I used production drawings to communicate the construction details of the garments. This method of modeling allows a manufacturing team to produce the garment exactly the way the designer wants it. A sample machinist would be able to use these drawings to draw up a pattern ready for the manufacturing process. It also establishes whether suitable and desirable techniques are able to be completed and assist with the functional modeling aspect of the design. At this stage it is important that we know that the garment is able to be constructed to the finished standard required, using the correct sewing techniques. Page 6 of 12

21 Page: 7 Author: Date: 2/10/12 1:42:01 PM The modelling is production sketches. The evidence is feedback from machinists or self critique as to feasibility of design. The contest revealed is between functional aspect of fastening and the aesthetics required for performance. This affected my decision making because as I sketched the back of the garment, I realized the importance of the fastenings of the undergarment and that they need to be well hidden under the top garment and should not be seen sticking out or catching onto the over top. These drawings also let me visualise what the rolled hem and fastenings would look like on the garment. Toile It was then time to complete a calico toile. Calico is a cheap neutral and natural fibre. I prefer to use natural fibres as they are easier to work with and have less impact on environmental waste. Calico has a similar drape to the fabric I want to use, so it will give a realistic idea of how the garment will sit and drape on the body. As the calico is opaque, it allows me to see the outline of the garment and how it will sit on the body. Page 7 of 12

22 The purpose of the first toile I completed was to see if the pattern was correct and sitting the way I wanted it to. Although calico does not represent how the garment will finally look, I use this fabric as it was cheaper than other fabrics available to me and allowed me to save money for the final garment fabric. I felt that by making a mockup in this, it would show me how the style of garment might look on the body. I also like how the calico is a neutral colour and does not distract from the actual design of the garment. I have used old bed sheeting before for mock ups, but the swirly patterns and brown and orange colours detracted people from the shape and fit of the design. It was embarrassing to show my 3D designs to people in this form and felt the extra cost for calico was worth it to impress my stakeholders. Fitting the Toile After trying it on Sara, I was also able to get her to practice some of her dance routine and see how easy it would be to move in it. The top looked great and did not ride up on her when she raised her arms. Sara told me that she felt comfortable in it and that although the top did not stretch, it moved well on her body as she danced. It is important that Sara is able to try on a toile to dance in as a test. Pattern Alterations When I altered my patterns I used plain unbleached brown paper the teacher orders in a huge roll from the local paper supplies store. I use this for my pattern alterations as it is sturdy, does not rip easily and does not have any Page: 8 Author: Date: 2/10/12 1:42:23 PM The modelling is toile, the evidence is fit and function during movement, the decision answers the question does the design adequately resolve the initial competing/ contesting factors identified in by modelling using stakeholder feedback. Page 8 of 12

23 This page contains no comments print on it. I also like the fact that it is unbleached and reduces the toxic waste produced in the manufacturing of it as the bleaches harm the environment. When I visited fashion school on a tour, I noticed they use the same brown paper and keep the larger scraps for smaller pattern pieces to reduce the wastage. During the pattern making process I needed to complete at least 6 pattern alterations for the top. This involved the development of the undergarment that had lots of small pattern pieces. I used a lot of the pieces of brown paper left over for smaller pattern pieces. This also reduces the environmental wastage of paper. Our teacher has a separate box for any paper scraps to be disposed of in the paper recycling bin. With a class full of students, this also reduces the cost of pattern development long term. Fabric Selection I used a range of fabric samples to determine the fabric choice available for the outfit. There were a few issues with the selection of fabrics as I was unable to purchase the fabrics in the colours I wanted. I was able to discuss and show a range of primary and secondary stakeholders these fabric samples to get their opinions. It is a stage I find that a lot of people get excited about; they really start to be able to visualize the garment in its final state. I usually show people an emotive sketch with the fabric samples as it provokes a particular mood. When using different modelling techniques, it is important to present ideas in a well finished and professional manner as it helps to sell the idea better. Page 9 of 12

24 Construction Samples After this, I knew that it was important to complete some samples of construction methods so that I could get the finishing techniques sitting well and to ensure they would be functional as I knew that Sara would be putting a lot of stress on some of the seams when dancing and that the hems and finishing techniques needed to sit well in the body especially as I intended to use a very light, transparent and floating fabric. Seams I trialed a range of seam techniques on a similar weight fabric. The samples were Plain, Industrial French and Bound seams. By completing partial functional models using the actual fabric, I was able to test techniques quickly and cost effectively and determine which method was the most suitable. I found the most suitable method was French seams on the structural parts of the garment and bound edges to finish the hem, neckline and around the arms. When I pulled and stretched at the seam, it was also the most flexible without tearing and both Sara and I liked the way that you could not see the raw edge or finish on the inside. Hem Samples The hems I trialed were as follows: Rolled, Hand-stitched, Zig zag, Overlocked and Turned over and Topstitched. The most suitable was rolled hem because it sat flat and did not curl up. As it was the lightest form of hem, it also allowed the fabric to flow and sit softly unlike the other methods. Once again, part samples allowed a quick look at what techniques would look like on the fabric. Second Toile For the second toile, I decided to use a lighter weight fabric. I found an old pink night garment in the garage that had a similar drape to the silk I want to use in the final garment. By using this for my final toile I was able to experiment with techniques that I thought might suit the final garment. I used this method because it gave me a better idea of what the final garment might look like and that it was cheap. Throughout this process I was able to experiment with a range of construction techniques I had not used before such as a rolled hem and self enclosed seams. From the first toile, I worked out the fit. Information I gained from the second toile was the appropriate use of techniques and processes. Page: 10 Author: Date: 2/10/12 1:57:56 PM The modelling is comparison of seam technique, the contest is between the different functional and aesthetic properties of seams under load with the actual fabric given the priorities established above. The decision is the selection of the seam. Author: Date: 2/10/12 1:58:55 PM At this point there is absolutely no doubt in the mind of the marker that the candidate has repeatedly explained how functional modelling is used to test competing and/or contestable factors and inform decisions during the development of a technological outcome. Page 10 of 12

25 It is important to complete a toile because it acts as a three-dimensional model that represents fit and how it will hang on the body. During the toiling process I use the body form in the same size as the wearer because it is more convenient to access a body form during the construction process and I find that I like to keep an element of surprise and excitement each time that Sara tries the toile on. In the past, I have found it becomes tedious to have too many fittings with the primary stakeholder and can become disheartening for both the designer and the client if the client is involved at every single part of the decision making process. I received advice from friends and family members and sometimes got my little sister to try the outfit on, as she is the same size as Sara. This way, each time Sara tried the garments on there was still an element of excitement to be able to see the changes occurring. Page: 11 Author: Date: 2/10/12 1:59:03 PM The toile acts as a form of prototyping. Evidence is degree of fit and drape. The decision is to accept or reject the material sizing seams etc that have been developed. Page 11 of 12

26 Trial In Situ Page: 12 Author: Date: 2/10/12 1:59:12 PM This is a clear example of prototyping with a complete trial in situ. The evidence is degree of fit and freedom of movement under performance conditions. The decision is that the outcome has resolved the competing/contesting factors above so that it is both functionally and aesthetically fit for purpose. When the garment was tested on Sara in the foyer of the movie theatre, it fitted her perfectly. The toiling processes had helped me get the fit right and ensure that she was able to move freely and not fall out of the garment in the wrong places. We found that when we Sara wore the outfit that the contrasting colours made the silhouette of her body stand out well when she danced and that the movements in her choreographed dance piece were accentuated by the light floating fabrics. No seams ripped and she will be able to wear the item with confidence on the night of the performance. The lighting crew felt that they would need to increase the intensity of the spotlight to make sure that the transparent fabric highlighted the under garment detail well. Designing and constructing this outfit was important to me as it was the first time I was able to construct a garment that was going to be displayed in a public place. I knew that this garment could have an impact on my future as a designer because if it had an impact on the audience, they may remember it and look out for my work at a later date. In the fashion industry, positive and negative public exposure is part of the branding process and it can have a huge impact on the success of a designer. I aim to reduce risks of poor design work through the use of Technological Modelling in the Design process. Overall I was pleased that I used the different methods of Technological Modelling throughout the design process. Even though it is very time consuming, compared with just making a garment straight away, it reduces the risk of things going wrong and allows testing to increase the chances of a successful end product. I was happy with the outcome of my project and look forward to using the different Technological Modelling methods on future projects. Page 12 of 12

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