GLong.Work

International Exchange Students 2009

2009-07-13T19:30:00.000-07:00

Thank You From JA PRODUCTION

2009-07-01T00:23:00.000-07:00

Flora

2009-06-22T19:12:00.000-07:00

Corset Project Student Example

2009-05-05T02:06:00.001-07:00

(by Qmore 莊雅雯)

Always One Dress Missing Student Example 2

2009-05-04T23:25:00.000-07:00

(by Eden 孫啟維)

Always One Dress Missing Project

2009-04-28T00:07:00.001-07:00

女人的衣櫃總是少一件衣服。
There's always one dress missing in a woman's wardrobe.
Purpose
• To further develop and enhance your creativity in developing a 'personal fashion style' that is both directional and marketable
• To produce a ready to wear collection that reflects your 'personal design style' but also has a distinct market focus.
• To develop conceptual ideas into fashion products for a chosen market segment.

Outline of Project

Design brief.
• Design a collection of a minimum of 15 coordinated pieces and a minimum of 6 models, for spring/summer 09/10
• Most pieces in the collection must cross over to create a comprehensive wardrobe. 'this goes with that'
• Decide market segment, for research, and develop a customer/client profile
• The design/inspiration theme for the collection is your choice.
• Design your collection for this market.
• Develop 2 coordinated color palettes.
• Consider knitted and woven fabrics, coordinated textures

Research
• It is important that you research current and predicted future fashion trends (and develop your own trend based on this research).
• Research other areas other then fashion for inspiration including popular culture, subcultures, local and international lifestyle trends, historical references, architecture, nature, art, etc. etc. etc.
• The sources of inspiration are endless, what we require to know is, how what inspires and influences us drives our design process.
• Fabric and accessory innovations and color trends
• Documenting your research, is an important step in the design development process.
• To annotate what or how something inspires us assists us to design (why? do I like what I like)
• Research who your customer is, it is important you are fully aware of who your market is, what they do etc

Design
• A coordinated ready to wear collection, based on your research and chosen inspiration and theme,女人的衣櫃總是少一件衣服。There's always one dress missing in a woman's wardrobe. using a fully resolved design development process. All pieces in the collection must work together and reflect your personal style, it is important that you analyze your design with a critical eye (or train your eye to be analytical and critical of your own work, I like it or don't like it is not enough)
• Develop a color palette appropriate to chosen theme and market segment
• Understand fabrics, prints, textures, trims and accessory selection and coordination

Outcome of Project

Design
• A theme/inspiration board
• A customer profile
• Design development folio, depicting the development process from inspiration through to final drawings of collection
• A range/collection board (illustrated design)
• Color fabric board minimum 2 color ways
• Technical drawing of final garments that are to be produced

Theme and range boards can be presented in a format that is appropriate to the collection.

Checklist for assessment presentation
1. Design development folio - including research
2. Inspiration/Theme board
3. Customer profile
4. Range board/the collection (illustrations) 6 models
5. Technical drawing of the garments being produced
6. Fabric and color board Minimum 2 color schemes
7. Final garments

Always One Dress Missing Student Example

2009-04-27T21:25:00.000-07:00

(by Nicole 江心華)

Muse Project Student Example 2

2009-04-24T03:33:00.000-07:00

(by Quwada 戴伶芸)

Muse Project Student Example 1

2009-04-24T02:58:00.000-07:00

(by Jennifer 古世幸)

YSL Project Student Example

2009-04-24T02:43:00.000-07:00

(by Netsume 雲琮迪)

YSL Project

2009-04-24T01:50:00.000-07:00

To pay homage to one of the most influential designers of the 20th century 1936-2008

Yves was 21 when he started as a designer at the House of Dior. I think most genius emerges between fourteen and twenty. If you don't have talent, education can help you to learn, but if you have talent I don't think education does much for you-only lights the way. Yves did go to a cutting school for a time, but it not the people who cut, it's the people who dream and achieve who make a difference. Diana Vreeland MET, NY

Fashion is a kind of vitamin for style. It stimulates you, it gets you going. But there's is a risk of overdose. It can destroy the balance of your personality-that goes for the designer and the women who wear the clothes. Fashions pass quickly, playing with fashion is an art, the first rule is don't burn your own wings. Yves Saint Laurent.

Anyone who reaches for great expression has to be careful of the ridiculous. Every art is delimited by it's medium, mine by clothing. I use to say what I do is a minor art. Maybe it is not so minor after all, but it is not fine art. I can not pretend to do sculpture and make a women the ridiculous pedestal of my pretensions. To render clothing poetic yes-but one must preserve it dignity as clothing. Yves Saint Laurent.

I think so many so called avant-garde artists who push their material beyond it's natural limits. They soil there own nests, destroy the forms that gave them space to work, and end up with Chaotic junk. Yet when we do listen, we all can tell where the music ends and the noise begins. Yves Saint Laurent.

Africa 67/68

Russian 76/77

Chinese 77/78

Harlequin 79/80

Art - Mondrian 65/66, Pop Art 66/67, Picasso 79/80

Spanish 79/80

Shakespear 80/81

Project

• Research the designer and produce a folio of images of his work, from this research design a capsule collection of ready to wear fashion garments.
• Also research what inspired his designs
• Your collection is to be inspired by YSL work, and what influenced his designs but the final designs must have your own design signature:
• 2D Design: from your research create a theme board for your collection.
• A collection of five final designs to be presented on figures with front and back views and to include fabric samples for all 5 designs.

• 3D Design: produce one ready to wear outfit from your collection.

Some designers do clothing that is merely color and shape; he always says something. Catherine Deneuve, YSL Muse

Schedule - Project 1

• 1. 10/9 Project 1 - Introduction to project and course requirements. Research and Design development
• 2. 17/9 Continue Design development
• 3. 24/9 Complete design development Commence designing the collection.
• 4. 01/10 Produce theme and storyboard
• 5. 08/10 Select designs to be made into 3D, 3D Design Development
• 6. 15/10 Commence final
• 7. 22/10 Continue final garments
• 8. 29/10 Introduce Project 2 - Ethnic project Complete final garment. preparation for assessment.
• 9. 05/11 Mid term exam week 2D & 3D final presentation of YSL project 1

Ethnic project

• Project 2: Ethnic or Traditional clothing
• It's terrible to say, very often the most exciting outfits are from the poorest people. –Designer Christian Lacroix in Vogue, April 1994
• To honor the asthetic’s of ethnic cultures, and how these cultures have inspired and influenced design, in particular fashion design
• Honoring this inspiration by being culturally sensitive not being disrespectful nor belittling the traditions and cultures of the world

Assessment
• Theme Board: Design and produce a theme board based on your YSL research, theme board must be in digital format, images must be appropriate for the project title and relate to your collection and the final garment outcome. The theme board must be professionally presented in regard to layout and presentation.
• Storyboard: the storyboard is your collection on 5 illustrated models all models must have a front and back view plus a side view if necessary.
• You must have fabric samples for all 5 models, all fabrics must be coordinated and work as a collection and be appropriate for the garment. Consider color, texture, surface detail, prints, knits, woven and weight of fabric.
• Final garment/s: Garment must be professionally finished, in fit and construction, and must be a true representation of the 2D design.
• Power Point: produce a power point documenting your research, 2Ddesign development process and 3D Design development.

Slides: PP
• Research, 2 slides
• Theme board, 1 slide
• 2D design development, 2 slides
• 3D design development, 2 slides
• Storyboard, 1 slide
• Final Garment, 1 slide.
• You will be required to present this power point with the final garment at assessment.

Design analysis and development exercise

Inspiration
Costumes of the Miao from South-East Guizhou

O-o-h Child:

2009-04-16T04:40:00.001-07:00

• Embracing children's interests and tastes.
• Creating a balance between functionality, creativity, interaction with wearer, and conformity with general society.
• The philosophy behind this design is being able to customize the garments by subtracting or adding pieces in simple ways encouraging self expression through clothes.

• The pressure to confirm is heightened by school requirements and peer group pressure.

Children's Fashion
• Character dressing
• Miniature adults
• Sexualizing of children

• Examples of children’s European fashion spring/summer 08
Shih Chien University Museum Collection
• Design principles examples from Shih Chien Museum collection

1. Repetition: The fabric surface decoration is regular repetition the eye travels over the repeated pattern of the fabric. 2. Rhythm: The embroidery pattern is arranged in an ordered predictable pattern, the rhythm design principle is increased by the repetition of this embroidered surface design.
3. Harmony: Harmony is achieved from the boarder braid being repeated throughout the structural design and the decorative design of the garment, creating order and symmetry within the garment.

4. Proportion: The proportion of the garment is based on the circle, the body and sleeve are of a similar length, the placement of the embroidery follows the segments of the circle in equal proportions, it could also be said the garment is balanced.
5. Balance: This garment has formal horizontal balance meaning it is symmetrical both sides being equal in every aspect each part of the design is visually balanced in both shape and decoration.
6. Dominance: The heavy black of the neckline is dominant in structure and decoration it is the visual reference point of the garment the eye is immediately attracted to this features in contrast to the pink used in the rest of the garment.

Inspiration for the Garment

• Contemporary images of everyday life as depicted in a child's drawing to be printed onto fabric.

The Garment Outcome

Conclusion
We wear clothes for three basic reasons,
1. To provide a protective covering
2. For modesty and decency
3. As a means of identification and display

References:
• Collection of Shih Chien University costume museum
• The Sydney Morning Herald, Generation Text, do we have a show for you, 30/10/07
• Fashion Design Manual, Pamela Stecker, Macmillan Education Australia Pty. Ltd
• Moda Junior, ANNO – N.3 Gennaio/Marzo 2008

Special Thanks to:
• Angus, 陳宥安, the drawing artist
• 陳蓉瑾, the model

RMIT Fashion Seminar

2009-04-15T19:17:00.000-07:00

IGTC

2009-04-15T19:09:00.000-07:00

Muse Project

2009-04-15T10:01:00.000-07:00

The muse, when it comes to men
By Robb Young
Published: January 18, 2008
LONDON: The muse has been the domain of men for centuries - not least because long stretches of art history were essentially the same story. Boy met girl; boy painted girl. And while using a muse may have become passé, whenever one does appear, it's almost always a man doing the musing over a woman.
Even today, under post-feminist scrutiny, few female artists devote their canvases, videos or sculptures to objectifying the ideal man. Nowhere was this more poignant than in Mary Gordon's 1998 novel, "Spending." "Where are all the male muses?" implores her main character, an artist named Monica.

• Fashion, too, has been dominated by men creating women's clothes, their myriad muses gracing countless photographs, catwalks and magazines since the advent of couture. But with a new generation of female designers who dedicate their brands exclusively to menswear, the classic muse relationship could soon get turned on its head.
• These women are, like it or not, wrestling with the idea of the male muse in every creative and marketing decision they make.
• "Yes, I have muses that I gather information from, but it's often far removed from fashionable London where I work," said Siv Stoldal, whose eponymous menswear label subverts traditional notions of dressing up and dressing down. "It can be somebody close to home, like my husband or father, or a neighbor of a friend in the Norwegian countryside. It could be a pensioner or even a random person on the bus."

• But once she has interpreted the research into her own designs, the role of the muse stops there. "I don't think of a specific person wearing the clothes when I begin making my own collection," she said.
• The process for most designers nowadays hinges on a whole host of references, rather than on a single muse. Still, some do begin by taking inspiration from a particular individual and that can sometimes carry over into an entire collection or as a thread of inspiration for several years.

• "I don't like the word muse because I think it sounds pretentious, but I have worked with one for three seasons - Johan Ohlserom. From the start, I've always used friends or a street casting for shoots and shows," said Carri Munden, whose vibrant menswear label Cassette Playa pays tribute to the many fringe and underground music subcultures in Britain.
• "Johan is definitely someone I think of when I design, and I use him for fittings as well as my shows and look-books. His own personal style is part gabba and part hip-hop so his look really works for my brand. He's tough, totally fearless, but 100 percent positive and calming. Now he wears Cassette Playa a lot, often head to toe," she said.
• There is also a very practical side to a having a muse, according to Carola Euler, a Berlin-based designer who seeks feedback from her regular fitting model.

• "Men will always tell you the truth because they're too scared of looking ridiculous and this fear is greater than politeness," Euler said. "That way I get a brilliant insight into who would wear my clothes, how far I can go and which things to completely avoid."
• Munden agreed, saying: "Women's wear can be a lot about the designer's fantasy. Men won't stand for that. They dress for themselves, not anyone else, and they want clothes, not a concept. So working with someone in mind keeps your ideas grounded in reality."
• The flip side to the muse argument is that female designers' anatomical and sexual disconnect from their male clients can sometimes produce unique and inventive results.
• "I think, as a woman, we might like to bring out different aspects or qualities of masculinity than a man, who himself grew up with certain social expectations," said the Austrian designer Ute Ploier.
• Although Ploier shies away from the notion of a muse who defines an entire collection because she finds the idea too restrictive, her current collection has been in part influenced by Taylor Fuchs, a model whom she prefers to call her "protagonist" of the season.

• Because most of these female designers are still reluctant to declare without reserve that they have discovered their muse, all this begs a few questions.
• As fashion, unlike art, requires a body for the work to function, is a man who acts as an adviser on the marketability or wear ability of clothes really a muse?
• Most models are little more than clotheshorses for any brand, women's or men's, but once in a while a Kate Moss or an Agyness Deyn does cross over into genuine muse territory. If a muse is both the fundamental inspiration to the creative process and the embodiment of a designer's brand image, can a male muse be much more than a figment of the designer's imagination or a fleeting face in an ad campaign?
• Woo Young Mi, for one, believes she has hit the jackpot in Kang Dong Won, the South Korean actor.
• "Naturally, it's very hard to meet one's muse in real life. I used to think my muse only lived as an ideal, but six years ago, fortunately, I found the muse who really matches everything that I have dreamed of," said Woo, a South Korean designer who shows during the Paris men's fashion week and who has since enticed the actor to walk for her shows there. "I don't like models that are too muscly, too sexy, tough or decadent.
• www.wooyoungmi.com
• "My muse is essential. He has honesty of mind and soul."

The Project
• http://www.iht.com/articles/2008/01/18/style/rmuse.php
• The first project for this semester is based on the MUSE, or the ideal person or group/s of people that inspire your design, it may or may not be a famous person, read the article and decide who your muse is, create an extensive visual profile of this person.
• From this profile design your ready to wear, men’s wear collection

The collection:
• 10 coordinated pieces
• to include woven and knit fabric
• minimum of 2 color ways
• summer 09
• 4 fully resolved 3D design pieces to be produced.
• Document your design and development process a Power point presentation to be submitted for assessment.

Schedule
• 01. 08/09 Project 1: the Muse +The Graduate Collection. Research and analyze your thoughts on who your muse is
• 02. 15/09 Muse Collection development and range planning, shapes, details, lines, colors, textures etc. Discussion of ideas for graduate collection Fabric and accessory research for muse Project and the Graduate Collection
• 03. 22/09 Finalize designs for Muse Project Preparation to present design for Muse project.
• 04. 29/09 Present final 2D Muse Project designs. Design Brief for graduate collection Complete Muse Project storyboard with Fabrics.
• 05. 06/10 Present Graduate Collection ideas + Theme.2D design Development of graduate collection
• 06. 13/10 Start 3D development for Muse Project2D design Development of graduate collection Produce PP presentation for Muse Project
• 07. 20/10 Continue 3D development for Muse Project2D design Development of graduate collection PP presentation for Muse Project
• 08. 2710 Complete 3D development for Muse Project2D design Development of graduate collection finalize PP presentation for Muse Project assessment
• 09. 03/11 Mid term exam week Muse project assessment 20 Designs minimum for Graduate collection
• 10. 10/11 Project 2: Antiquity Present the 20 designs with color and fabric samples. Further develop the graduate collection select the final 6.Research the Antiquity Project
• 11. 17/11 Present the final 6 Graduate collection designs for Preliminary collection critique Finalize your 2D designs
• 12. 24/11 3D development of the graduate collection
• 13. 01/12 Construction of final garment and 2 Prototype garments. Construction of final garment and 2 Prototype garments.
• 14. 08/12 Construction of final garment and 2 Prototype garments. Construction of final garment and 2 Prototype garments.
• 15. 15/12 Complete construction of final garment and 2 Prototype garments. Complete construction of final garment and 2 Prototype garments.
• 16. 22/12 First critique collection Boards + 2 prototype garments and one final garment.
• 17. 29/12 complete all work for assessment
• 18. 05/01 Final exam week

Design Brief for Graduate Collection
• Students are to prepare a design brief for there collection, to be submitted week 4 of the semester.

Zero Sum

2009-04-15T02:35:00.001-07:00

Yell Blue Murder

2009-04-15T02:28:00.001-07:00

Woodenhead

2009-04-15T01:55:00.000-07:00

Wednesday

2009-04-15T01:35:00.001-07:00

Schnorky

2009-04-15T01:29:00.001-07:00

Peter Pan

2009-04-15T01:27:00.000-07:00

Gone & Liar, Liar, Pants On Fire

2009-04-15T01:22:00.000-07:00

Love and Other Sharp Objects

2009-04-15T01:17:00.001-07:00

Dog Farm

2009-04-15T00:42:00.000-07:00

Doctor Dog

2009-04-15T00:40:00.000-07:00

Boy Pussy

2009-04-15T00:38:00.001-07:00

Barracouta

2009-04-14T23:39:00.000-07:00

Autopsy

2009-04-14T23:36:00.000-07:00

Hate Crime

2009-04-14T22:33:00.000-07:00

What Are Words Worth?

2009-04-14T00:08:00.000-07:00

We express who and what we are, what our needs and wants are, our love and desire, with words.
The content of 'curved' the selected poem was chosen because of it’s expression of a love without words and consciousness, in sleep, an expression of tenderness, contentment and peace, of being connected, of just being.

Without words we are mute, the value of words is immeasurable.

Books are the inspiration for the garments; a book held close to the heart with the delicious anticipation of turning a page. Also the aesthetic of old hard cover books, with binding, embossing and boarders. Poem printed with permission of the poet, Lily Brett, www.lilybrett.com

Cover Girl

2009-04-13T23:41:00.001-07:00

Helmut Newton was a Fashion Photographer for Australian, British and French Vogue. He was famous for his nude or semi nude photographs of women, often stylized erotic images with a dark fetishistic subtext. His use of the nude as a fashion photograph concept, the nude in a setting that created the mood, the style and the image for fashion, rather then the clothing, this is what most appealed to me about this photographer's work. The notion of the 'Cover Girl' as a powerful, in control, femme fatal was the inspiration for these designs, the playful use of men’s design details mixed with the allure of the dominatrix.

Corset Project

2009-04-13T06:00:00.000-07:00

Introduction
The corset is a perennial fashion item it is reinvented season after season by many designers.
The rationale for this project is to give the student the opportunity to explore a fashion item in depth and to discipline the design process by focusing on a particular item, the corset.

Design brief:

Research and collect photographic examples of:

1) 20th century design history of corsets, include in your research the particular pattern making and construction methods required for corsets.

2) How current designers are using corsets or corsetry in there collections

• From this research design a capsule collection of high fashion corsets, your collection must include some form of surface embellishment, this could be in the form of embroidery, printing, painting, beading etc. etc, in particular you are encouraged to explore no traditional forms of embellishment or use a combination of traditional embellishments.
• 3 storyboards to be produced one based on your historical research, one on contemporary design and the third to be your own collection.

Outline of Project:
• Research and design development
• Research historical and current trends in corsets
• Research fabrics, trims and the accessories required to make corsets
• Research forms and methods of embellishment
• From your research develop your designs.
• Annotate your research you are also required to keep a bibliography of the sources of your research, including books, magazines, websites etc.
• A minimum of 8 pages of research and design development

Design:
• Design a capsule collection of 5 embellished corsets. You may want to consider recycling, by using existing garments or embellishments to make this garment.
• Designs to be presented on figures as detailed drawings, with fit and construction details, embellishment details, to include front and back views and to include fabric samples

'Creativity is built on discipline and focus and driven by internal motivation and not external goals'

Construction:
• Construct a prototype garment in suitable sample fabric, prototype to include all components necessary to produce a corset, such as boning, cups, shape well and fusing.
• On completion and correction of prototype garment a final garment is to be produced..

'the idea is not everything you must have technique'

Assessment requirements
• Research and design development folio, your research folio must contain extensive historical research as well as contemporary fashion and embellishment photographic images.
• 3 Storyboards
1. Historical influences
2. Current fashion influences
3. Own designs detailed front and back views, with fabric samples.
• Prototype garment
• Final garment

The Design Process:
• Preparation: research, inspiration, ideas, the agenda for the design, having a logical and practical approach to your work
• Incubation: the conscious and unconscious dwells over the design problem trying a variety of different directions to find the solution.
• Illumination: Is when the design idea becomes clear and the steps to move forward with the design become clear.
• Realization: the 2D and 3D realization of the design and the production of a prototype.
• Revision and reflection of the prototype
• The final design product

Embellishments