Sato Shingo the TR (Transformational Reconstruction) origami pattern master class

Carrying on with the TR origami cutting workshop cutting workshop in University with Sato Shingo where we had already learnt to pattern cut and construct a origami bamboo bodice technique which after constructing in pairs we then moved on to working independently carrying on a similar technique on a sleeve which would fit into the fart lines carrying on the same repeating technical process to the bamboo bodice but I had to measure 10-12 cm width ways for each of the triangles in contrasting paper , still adding the 5cm to the bottom of each triangle before sticking in the triangle perfectly with masking tape between the dart lines and then the only difference with this pattern was to fold the triangle inwards and upwards towards you instead of laying flat . I joined up the cut line (dart) I made before sticking in the triangle , making the triangle to wiggle and shape the triangle open to form and imprint two new lines set into the triangle which I unpinned and layered flat , I could then use the pattern master to draw on the new imprinted lines.

I carried on the same process to the origami bamboo sleeve , working my way up the numbered dart lines and then when finished I was able to join up the 3D bamboo pattern to create the repeating layered effect . the only difference with this pattern is when its in fabric the bamboo effect dart lines will be 3D  and puffed out instead of sitting flat to the body which has a really nice effect . I feel that once you know the repeating pattern of how this TR pattern magic technique it is quite easy and very successful ,at the beginning the pattern looked really complicated but now I know how to construct this advanced ,beautiful pattern in fabric I would to include what I have learnt in the workshop in my fashion collection as it has been such a great opportunity learning from one of the best TR pattern masters.


Sato Shingo -Master Class

Sato Shingo the TR ( Transformational Reconstruction) origami pattern cutting master came into my University to give a studio workshop learning day -giving us guidance on how to construct an origami bamboo bodice which  was really exciting to learn as I have seen the advanced pattern technique in my pattern magic books by Tomok Nakamichi. I have experience with many advanced pattern magic techniques  in the past but this was a new pattern technique I had never attempted to construct before but have always wanted to try so working in pairs in the workshop we gathered around a table were Sato Shingo showed us the possibility of pattern cutting showing us how exciting and experimental you can really be , while being very laid back and calm which was how I had imagined him to be . I have always wanted to meet him as I find his work very inspirational as I love learning new TR pattern , he suggested exciting construction ideas such as Appling zips into style lines and vortexs.

How the TR origami Bamboo pattern technique is created –

using dart lines that can be placed anywhere on the body, to create any shape or style line.

We started the pattern by tracing of the bodice block and applying the style lines (darts) , numbering each line as we drew in the bamboo styled pattern with the pattern master, then using scissors me and Ruchu – my paired up partner started at number 1 ,cutting down the line and closing the first dart with masking tape ,which opened up the dart on the opposite side of the bodice. Then using contrasting paper we drew in the opened dart by putting on top of the contrasting paper to place 3 dots in all three corners of the dart in a triangle shape. The next step was to use the pattern master to draw and match up the dots into triangle shape, then at the bottom of the triangle we needed to add on 5cm roughly and with masking tape we stuck in the triangle perfectly matching up the triangle in to the open dart. Next we folded the new stuck in triangle inwards away from the side seam and created a new dart , we then cut off the bottom of what was left of the triangle sticking out ( the 5cm) .

Looking at the centre line in the middle of the new dart we drew a line from the centre to the other triangle -dart. We cut the line and closed the other dart with masking tape and then did the same technique as the other side with contrasting paper and masking tape but the thing to remember with this repeating pattern technique is to make sure you don’t tape down the 5cm at the bottom of the triangles and always push the dart inwards no matter what side you are working on . On the other side we folded the dart and again cut off the 5cm of the triangle from the middle and side seam.

For the third dart/style line we started from the centre from the second line and cut through the second dart and cut up through number 3 -the third line and created another triangle measuring 8-10 cm and another 5cm on the triangle at the bottom and again using masking tape , once the triangle was cut out we stuck in the triangle perfectly in the third style line (dart) , we pulled the triangle inwards to create a new dart and again cut off the bottom 5cm. We carried on the same process over again until we reached the last dart when we did reach the last dart we cut straight through the pattern to make two half’s- if we wanted to use two different types of fabric for either side , we then pinned the pattern to our two different fabrics and cut out without seam allowance apart for a 1cm seam allowance on either side of the last dart . Once the seam allowance between the last dart was pinned right sides together we stitched the fabric pattern together . With the pattern in fabric we could now start pinning the fabric to create the bamboo pattern -with two pins we pinned each side of the triangles on the inside and then pressed down the darts as hard as possible to imprint the dart lines to the fabric that we started folding into each other to create the bamboo effect.

After the amazing , interesting work shop with Sato Shingo I was so inspired by his work and the amazing bamboo TR pattern cutting technique I wanted to include the design in my pre-collection, but using the technique in a different way that had never been down before -using heavy bubble transfer leather instead of light weight fabric to get some structure to the beautiful pattern.

Image result for TR pattern cutting bamboomore photos to come 🙂

Twisted skirt toile and my final skirt design for pre-collection

In the fashion studio at university I started to develop a pattern magic technique of a Nejiri twisted styled skirt inspired from my research into Madame Gres and John Galliano from the vulgar exhibition as well as my research into conus magus and imbricaria conuloris shells focusing on the images of black and white patterned shells from a book – Natural Histories Opulent Oceans. I was really inspired to use the draping and wrapping twisted effect in my white T-shirt jersey using the stretchy , heavy fabric to twist around the body like the natural twisted shapes you find in a shell.

Before using my white jersey to construct my final skirt I wanted to experiment with constructing a toile in calico to see the outcome and the effects I could achieve with this technique.

Inspired from the Natural Histories Opulent Oceans book and the images of the shells I took some quick sketches of the shells finding a way for the shapes to fit a body with fashion illustrations, then with one of my drawn sketches I had a design idea of a skirt with two waist bands -one around the waist with a decorative mother of pearl button with a rouleau loop fastening , forming a keyhole on the side seam and the same for the hem. But when it came to making the twisted mini toile from calico fabric it wasn’t easy as I had first thought . The first sample skirt process started by measuring and cutting the length of calico where I wanted the skirts hem to finish , then I measured the waist and hips of the mini mannequin as I was gathering on the waist and hem so I added double the amount of fabric .

with the sewing machine tension on 5  I stitching around the waist , hem to gather- making sure it could fit the mannequin ,I then stitched the front and back of the skirt right sides together leaving a mini loop slit for the keyholes.

Next I started constructing a waist band by measuring 5cm in calico, then I ironed the waist band in half and stitched to the raw edges of the gathered waist  . Once I had completed the skirts waist band I pinned to a mannequin to take photos of the process and to twist the skirt around manipulating the fabric but I couldn’t work out how to keep the fabric manipulated in the to twisted shape even if I did add the other waist band to the hem so I changed my design ideas by measuring and cutting out more calico fabric to pin and stitch on the right sides of the gathered skirt , I pinned the fabric to the hem and stitched along the already stitched gathered line all around the skirt . With the measurements I measured twice the amount of extra fabric and stitched on the end of my skirt ,I was then able to tuck up the fabric inside of my skirt and twist the fabric round 4 times and then lining up the side seams I could stitch together. – this technique would be very successful in stretchy jersey fabric but I did find it was quite a long ,confusing process but I loved this skirt design even though it hadn’t come out quite right with the construction but this didn’t stop me from experimenting with the skirt design further as I wanted to include the twisted skirt in my fashion line-up  . Also with the many mistakes I have learnt a lot about this new technique and the process.

When Constructing my final design in jersey fabric I was confident in the design and the stretchy fabric that the model wouldn’t have any problems with walking as I have now had a few  practice runs with constructing a few toiles of this same skirt to make sure I get it right- being successful for my pre-collection fashion collection. Once my skirt was constructed I was able to manipulate the twists on a mannequin ,making different shapes and styles which I felt was really successful and was exactly what I wanted.

Photos will be up soon 🙂



Vulgar Exhibition – Madame Gres

A designer that really stood out and inspired me at the Vulgar Exhibition was Madame Gres a French couturier and a master of the wrapped and draped dress. Gres designs stood out with simplistic and minimalistic draping techniques and her attention and respect for the female body using the draping to fall perfectly over the curves of any women.

I have always admired her work and love her evening wear so I was very excited to be able to see her garment in person ,being able to stand up close to look at the fine details of how she wrapped and draped the fabrics. This inspired me to start working with jersey fabric ,adding the fabric to my fashion line-up where I could use the fabric for draping and twisting like with the John Gallanio -Maison Margiela S/S 16 dress to get a tight s shape to a curved female body that would be perfect for an evening wear collection and because my brief is about contrast of colours and textures I want to add a stretchy ,heavy fabric to juxtapose with my thick ,woollen batting fabric and black sheer fabrics.

In the fashion studio I was able to buy some white T-shirt jersey which was soft, stretchy and heavy , I started straight away experimenting with draping and wrapping the fabric around a mannequin and pinning the fabric in different styles and positions inspired by Madame Gres. I pinned the fabric in different styled garment designs -dresses and skirt design ideas – I played around with the idea of using the fabric juxtaposed with other fabrics that could create a whole outfit for my fashion line up . I played around with the idea of having a garment in an asymmetric design by pinning the fabric to one side of the mannequin as well as construction details such as a cowl neck , a low decorative back ,ruching, pleating and gathering the draped fabric.

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Image result for the barbican vulgar exhibition madame gres

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The Barbican – the Vulgar fashion redefined Exhibition

I took a visit to London with the University as an educational trip to see the new ‘ Vulgar Fashion Redefined ‘ Exhibition at the Barbican museum where the Exhibition explored the question of taste ,illustrating how taste is just a mobile concept . The Exhibition started with focusing on the definition of the word vulgar-looking at wealth, class and beauty throughout different eras from the Renaissance through to the 21st century looking at traditional ,historic garments and more contemporary designs of couture and ready -to-wear fashion ,textiles and photography. The Exhibition was one of the best I personally have viewed since Alexander McQueen -Savage beauty at the V&A . This Exhibition had contributions of different collections from iconic designers such as Alexander McQueen ,Walter Van Beirendonck , Vivienne Westwood , Viktor and Rolf ,Pam Hoggs ,John Galliano and Madame Gres . I was really inspired by this Exhibition with looking at class and wealth in fashion and the question of what is classed as Vulgar ?

Image result for the barbican vulgar exhibition

Image result for the barbican vulgar exhibition

Image result for the barbican vulgar exhibition

Image result for the barbican vulgar exhibition

I found this Exhibition really connected and supported my dissertation where I am writing a paragraph on the connections between Human beings and animals throughout history which also sadly is connected very closely to fashion. I am looking at how we used and still use animals for food, fur and other commercial uses to show wealth ,class and status .

Status and class comes from spending money and acquiring luxury goods such as fashion – with materials such as  real leather and fur to publicly display empowerment, or to attain or maintain a given social status – the question in my dissertation is using animals to show wealth, class and power vulgar ?

” how much gold makes an object Vulgar ? ” – This was a question that was put in the first part of the Vulgar Exhibition which was really fascinating looking at what can be classed as vulgar such as money ,fashion,class and nudity which all appear in the exhibition. I wanted to include the vulgar Exhibition in my pre-collection as I was inspired by four different designers being- Walter Van Beirendonck , Viktor and Rolf , John Galliano and Madame Gres . I was first inspired by viewing John Galliano’s design for Maison Margiela S/S16 of a twisted ,wet looking dress that had beautiful natural twists and creases where it was sitting on the mannequin ,it looked almost stuck to the body like it was wet aswell as being transparent making it seductive -perfect for an evening gown which I loved as I am designing for an evening wear collection , I think its important for an evening wear collection to be slightly seductive ,showing some skin . I was inspired by the twist ,wet look as my brief is focused on a underwater theme where I am looking at using sheer fabrics and twists to represent shells, coral and other sea species.

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I was also inspired by Walter Van Beirendonck with his sheer trousers from the S/S 2009 collection -menswear where the outfit questioned the functions of clothing to conceal the body ,looking at nudity and showing a natural status which was really interesting as I have focused my collection on the natural world ,baring all and stripping back the truth of what is happening to the coral reefs and how the world is changing with coral bleaching ,global warming and marine pollution . Its interesting in the way we use clothes as a comfort ,away to hide and to conceal our bodies but what happens when our organic ,natural bodies are on show and the same for the truth of what is happening to the natural word with human activity .This inspired me to include a pair of trousers in my collection ,perhaps in sheer fabric or go the other way and use the thick white woollen batting fabric inspired by the fabrics from Viktor and Rolf A/W2016 collection as I am designing for Autumn/ winter 2017/18. I want my designs to be suitable for the season.

Image result for Walter Van Beirendonck s/s 2009

The Viktor and Rolf A/W16 collection was created using a selection of cut off fabrics but mostly denim and heavy ,woollen fabrics that were highly embellished with beads and buttons -all used from past seasons/collections from the Viktor and Rolf archives. I am very passionate about this collection – the outfit from the Exhibition as its a work of art with meaning as well as being apart of fashion history with its over sized gathered frills and highly decorative embellishment and embroidery , juxtaposes “high and low” of couture and ready to wear collections together. This collection has inspired me to use my batting ,woollen fabric a lot in my pre-collection as I feel the heavy ,thick fabric can look beautiful and elegant as well as structured ,holding its shape with the frills and the fabric is perfect for a Autumn/Winter collection.

Image result for Viktor and Rolf A/W 16 collection

Image result for Viktor and Rolf A/W 16 collection

Image result for Viktor and Rolf A/W 16 collection

Yiqing Yin Autumn / winter 2015

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Image result for yiqing yin

Yiqing Yin studied at the Ecole Nationale des arts Decoratifs ,immigrating from China at age 4  ,she uses her collections to provide a point of reference of home and about being tossed between countries  .

” Returning to my clothes ,was like living once more within my body and my emotions ;I was at home .”

Her aim has been to create garments that protects and reinforced ,being at the same time a second skin and a supple armour with pleating details and structure -with fixed shapes. Her garment designs always sculpt a flowing zone as well as a sculpted zone -mixing contrasts.

In the couture ‘Shed My Skin’ collection Yiqing Yin seemed to focus on fragility  – while at the same time giving her softly draped dresses some strong shapes and  shades, moving, for instance, from dim turquoise to bright blue. The dresses that graced the cat walk were particularly body revealing that appeared to figure hug but flow at the same time. The tension between body and clothing was handled with subtly and grace.

Image result for Yiqing Yin autumn winter 2015Image result for Yiqing Yin autumn winter 2015Image result for Yiqing Yin autumn winter 2015

The big story of skin, whether from the models or the translucent discards of a shedding python. The title “Shed My Skin” was an inescapable clue. Lightness followed – delicate lingerie references whisping across the body and Lace continued in printed pattern on a pleated number, Translucent snakeskin wrapped around the waists of the models  gracefully.

“I constantly explore as I want [my own collections] to be boundary pushing, fresh and young” says the designer, adding that her style can be summed up in three words: grace, movement and paradox.

“Her creations embody these guiding threads and express sensuality and fragility. She does this through feminine cuts and shapes, and experimenting with garments – in her own words, “a sensory wandering and the search for voluntary accidents” – using custom-made fabrics and innovative techniques such as smocking, liquid organza, embroidered resin, tie-dyed batik and Alcantara laser cut, among others.” – Quoted from

I found it really interesting reading up about Yiqing Yin – in the way she designs to push boundaries focusing on fragility through movement , shapes and the cut of her garments which is exactly what I tried to implement within my pre-collection focusing on the fragility of the natural world looking closely at coral reefs slowly disappearing. I have been mostly inspired by contrasts for my collection with the coral reefs in a state between living and most certain death in the future if nothing changes with human activity . I have been inspired by the contrasts of Yiqing Yin collections  with her use of constructed details – either being soft , graceful and flowing with sculpted structure with strong shapes and shades of colour.

“The creative power of nature fascinates me,” she says. “Its fragility, its organic forms, the impact of light and its mineral surfaces … I try to bring all these elements together in my collections by playing with the aesthetics of movement and draping, creating nature-inspired forms that transform the garment itself.”

“The seabed stays for the visual elements and the textures that we created. We tried to mimic various intriguing seabed ecosystems… It’s about elements that are contaminating and devouring the body so as to look like a second skin.”



Experimenting with fashion designs with pleating techniques – Princess pleater

The princess pleater is a English product that produces home pleating and smocking on traditional fabrics by using a slow process by hand but is designed to be strong and long lasting .  The process is simple, once you know how the princess pleater works but before starting the third year i had never heard of a princess pleater before and when i first saw it in the fashion studio , it did look a little complicated so i did some research into the process and how the princess pleater works with researching the outcome of pleated fabrics to see if the effects were what  i was after for getting my ideal ,inspired textured , pleated markings  in my black sheer fabric to represent my Darwin barnacle shells , I have evolved my whole skirt collection around fashion construction using my contrasting fabrics in a monochrome ,black and white colour palette ,textures and shapes  inspired by the Darwin Barnacle shells which are structured but elegant with unique , natural markings , shapes and pattern that look like pleats, ruching  and gathered skirts in  asymmetrical designs. I would of loved to experiment with using batting fabric but the woollen fabric was too thick to pass through the pleater so i wanted to experiment
with my light weight black sheer fabric instead  . I want my skirt collection to be striking with monochrome colours and the texture , shapes of the shells being mostly structured mixed with my prints of corals .
In the fashion studio i started experimenting with the princess pleater for the first time to see what effects i could achieve , At first i wanted to roll and feed the fabric through without threading the needles to see the outcome and to decided what would look best , the first sample wasn’t that successful without using thread as the fabric ruched up slightly in to crinkles . The second experiment i wanted to try was with threading the needles as  i loved the idea of using thread going the opposite way to the pleats so you could get the same layered marked effects that you could find on a shell .  The princess pleater can be a little difficult to operate on your own so Louise my tutor  helped with feeding through the fabric while i twisted the handles feeding the fabric through onto the needles that i had threaded with two different coloured threads -using white and baby pink the colours of stereotypical natural shells mixed with the black sheer fabric creating contrast  but half way through the experiment all the needles broke which was a little bit of a disaster as most fabrics pleat with ease but from the small sample i was able to pleat it was really successful and i loved the outcome which i wanted to experiment more with to use in my collection.
later on in my project i went back to the princess pleater after constructing half of my three tiered batting toile skirt which I have already posted about in my blog . With
experimenting before finishing my skirt I measured the length of my three tiered skirt to cut my black sheer fabric the same length and experimented using the princess pleater to pleat the fabric which I pinned to the skirt in a asymmetrical style.
I wanted to experiment with a different thread using a more structured silver thread to tie in with the sliver bubble transfer leather in my colour palette . I felt this time the technique was more successful as the needles didn’t brake which shows you should always experiment with an idea more than once , trying out different ideas and techniques
to the same process , i also felt the silver thread was successful showing the stitched lines perfectly matching the skirts  colour  palette but when it came to the skirt design it wasn’t sitting quite right even when i played around with the fabrics on the mannequin.The asymmetrical design wasn’t working so i decided to go back to my first initial design idea for the batting three tiered skirt with the sunray pleats running up in triangular shapes
in the black sheer  to meet the different tier’s of my skirt.
I have kept the princess pleated samples for my technical file but haven’t been able to put the process in any of my garment designs so this might be a design idea  to develop in my final major project for my final line -up , trying to find a successful way to incorporate the princess pleats in my collection as i really love the effects and i would love to start experimenting using different fabrics and  mixing the princess pleated samples with embellishment as when we presented our work in small group presentations in university i accidentally laid a small sample of princess pleating in transparent black sheer fabric on top of my embellished sequins and beading which i look a photograph of as i felt the
slight shimmer of the sequins behind the black sheer was really successful not being to shiny and  in your face and  it made the sequins more subtle and slight hidden.