This studio project explores and demonstrates several aspects of the constraining straitjacket whilst relating them back to the tailored jacket. I took the straitjacket as the initial concept; the rawness of the material and the primitiveness of its appearance, and through my personal transitional process adapted selected features. One of the key elements of the straitjacket that instantly appealed to me was the notion of ‘reversing’. Through design and toiling, I explored the concept of reversing in terms of technical ‘front’ and technical ‘back’, whilst also considering the possibility of functions that can be reversed such as pockets and lapels.
The sleeves of a straitjacket are typically sewn at the ends to restrain the use of the hands, the arms are then folded across the front and fastened behind the back where friction buckles are used to fasten the opening at the back. Various aspects of these features have been subtly incorporated into the fifteen-piece collection. However, the primary experimental jacket has simply focused on the element of ‘reversing’, having the opening and front features such as the lapel, at the technical back of the jacket.
Another key stimulation that inspired the design of my experimental jacket, is this
1950’s
Balenciaga dress.
A true fashion innovator, Cristobal
Balenciaga radically altered the fashionable silhouette of women in the mid-twentieth century. With the methodical skill of an expert tailor, he created garments of fluidity and grace. Unlike many couturiers,
Balenciaga was able to drape, cut, and fit his own muslin patterns, known as
toiles. He was respected throughout the fashion world for both his knowledge of technique and construction, and his unflinching perfectionism.
Source: Cristobal
Balenciaga (1895–1972) Thematic Essay
Heilbrunn Timeline of Art History The Metropolitan Museum of Art
I found this tubular, calf-length day dress by
Balenciaga appealing as the collar appears to recede down the back of the garment, making an interesting feature that could be taken further. The wide, bias-cut, stand-away collar creates a relaxed look that floats over the neck, and rolls towards, and down the back. This image of the 1950’s day-dress inspired me to focus on and extract the lapel, making it the core design feature of my experimental jacket, which extends over the shoulders, draping down the back, and have the ability to be crossed over, looped and tied at the front.
To begin my
toile exploration, I decided to use the block of the tailored jacket and eliminate the opening, the collar and lapel from the front block, replacing them with a seam at the centre front. On the back bock I left the centre back open to allow for a lapel. To generate the collar and lapel that I am after, I cut a strip of calico and attached it to the neckline, slash and opening it to produce the right shape. The finished result of the
toile is still a work in progress, yet I am content with the shape I am achieving through working on the stand, as opposed to 2-dimensional patterns.
The collection is a simple, yet sophisticated range of attire that plays on the characteristics of the straitjacket and ‘reversing’; having features that would usually be on the back, on the front, and vice-
versa. The basic elements of these garments such as lapels, pockets, openings and vents, have been altered and somewhat simplified to replicate the qualities of the straitjacket and what it represents.
The fabrics for this Spring/Summer collection are light, crisp and loosely constructed. Some of the core fabrics that are used in this collection is linen, cotton and a linen/ viscose blend that are in understated colours such as nude, soft greys and pale washed out pinks to reflect the mundane life of prison confinement. On the other hand, this colour palette creates a soft yet crisp look that accentuates the construction of the garments as opposed to a bright, bold colour, which may take away from the subtle design features.
Overall, this collection succeeds in turning the crude and rudimentary into tailored and elegant. The superficial elements of this collection were in reversing selected features and to some extent simplifying the construction of the garments. The experimental
toile in particular, allows the wearer to be intrigued and wear the garment in alternative non-traditional ways. The colour palette and fabric choice was influenced by the overall vibe of the prison experience, limiting it only to nudes, soft greys and washed-out tones. The textural qualities of the collection are established through the fabrics. The ‘blank’ canvas-like fabrics reflect the blandness of the straitjacket.
The collar/ lapel acts as the core design feature, being able to be crossed over and tied at the front. A simple and easy solution to fasten the back opening would be hook and eyes placed at the top CB and possibly one at the waist. I don't want to put too many hook and eyes as I like the fact that it opens slightly showing your back.
To begin my toile exploration, I decided to use the block of the tailored jacket and eliminate the opening, the collar and lapel from the front block, replacing them with a seam at the centre front. On the back bock I left the centre back open to allow for a lapel.
Slash and opening on the neckline: Firstly I marked in where I wanted to slash and open from, I then cut straight onto the strip of calico then sewed in small rectangular pieces of fabric to fill in the slash and open lines.
The collar will only be attatched until the back neck, then will reciede down the back of the body.