N i n a S t u t z e n b e r g e r
r e p o r t n u m b e r 2 0 2 0 . 6 . 0 7
„Exploring opacity and translucency in relation to color
and body with devoré knit as the tool“
2020.05.11
Index
1. Front page, Title, keywords, results 1
2. Introduction to the field 9
2.1 Background 9
2.2 State of the Art 10
2.3 Idea and Aim 12
2.4 Design programme 13
3. Methods and development 19
3.1 Methods of exploration and development 20
4. Discussion, Conclusion 45
4.1 Discussion 45
4.2 Conclusion 45
5. References 46
Opacity/Translucency
Color
Devoré Knit
Body
Comfort
Introduction to the field
2.1 Background
This project’s origin lies in the clash of translucency and opacity in relation to color, knit and the body. This clash is explored through manipulated knitwear. By manipulating knitwear the interaction between opacity, translucency and the body inside becomes the vital core of this collection work.
The main tool to manipulate the knit and to push the effect of translucency is the textile printing technique „devoré“. This technique describes a chemical „burning out“ of cellulose-based fibres that are linked with synthetic or protein-based fibres. When burning out those cellulose based fibres the synthetic fibres stay and create a thin almost transparent layer in contrast to the non printed part, which stays opaque (Singer, 2007). This technique opens up many possibilities to create patterns and color changes. The most popular way of manipulating textiles with the devoré technique is similar to regular textile printing with screen printing. But first of all the play between opacity/translucency, color and texture will be describes further in this section.
In fashion
To connect the approach even further to fashion design Jil San- der published it‘s RTW collection 2010 with a strong focus on the clash of opacity/translucency in relation to the body. Jil Sander made use of this by hiding female body parts through opacity, and showing body parts through translucency. Here the effect was also designed on knitwear, where a high loose gauge enhanced the transparency effect, which invites the body‘s skin and silhouette. Another vital element is the material contrast between opaque and translucent area. While the translucent knitted part becomes fragile and thin, the opaque part is thicker due to more yarn. The monochrome expression of solid black and see through soft black is effective. The manipulation of knit into conceptual surface patterns to conceal and reveal skin in unexpected ways, as Sara Mower described the expression on Vogue (Mower, 2009). This effect of hiding and showing is the most common way of working with opacity/transparency in fa- shion.
In design
The most plausible application area where making use of the properties of opacity and translucency is ba- sically architecture. The hiding and isolating through opaque, solid walls and light including transparent windows are familiar to every eye. Where this effect of contrast describes a well known application, designers adapt it in even more far-reaching scopes. The play between textures, light and color is the main function of Ronan & Erwan Bouroullec who design wall instal- lations that interact with their surrounding through translucency. Raw Color Studio, which designs color- ful blends do similar. Here the effect of opacity, trans- lucency and texture through daylight creates a visual interplay. The involvement of the body as an object in the background enables an aesthetic color shift and
form play. Fig. 1, Ronan & Erwan Bouroullec
Fig. 2, Raw Color blend
Fig. 3, Jil Sander RTW 2010
Also Stella McCartney published the RTW collection 2012 with layering of materials and colors through opacity/
translucency as its core. Here the different stages of color intensity and materiality show the visual effect of laye- ring possibilities through translucency. The use of diffe- rent translucency stages through color strengthens the expression. By constructing the garment around those stage effects the wide lose jumper builds a major layer that includes the tight construction of the dress underne- ath, the color shape plus the humans body and its skin.
Where the jumper ends under the hip the other layers of the outfit underneath are able to come through and show its materiality and color.
Fig. 4, Stella McCartney 2012
2.2 State of the Art
Yo s h i Ya m a m o t o
Spring/Summer 2018 - Devoré used on velvet woven fabric
A first contemporary example working with the devoré textile printing as a layering technique through opacity and translucency is Yoshji Yamamotos SS/18 menswear collection. Here Yamamo- to worked mainly with the most familiar material for the devoré technique called velvet where the viscose fibers of the material combination are burned out with the acid solution and the thin silk fibers where the acid does not react to, stays. Yamamoto worked with this thin almost transparent silk layer to include the humans body, it‘s skin color and fluency in relation to materiality. Similar to most devoré fashion collections Yamamoto did not define an objective print pattern, instead he used the typical uncontrolled effect that can be created by burning out fibres. This uncontrolled aesthetic as a print pattern can be used to push a natural driven expression. Especially in Yamamoto‘s classi- cal and familiar constructed garment design the „eat through“ effect of the devoré adds a certain metamorphosis. The color scheme of the collection is based on black shades. This simplicity of color supports the focus on the devoré parts and the material transformation. Through this transformation from thick and dark black into transparent lightness the color expression underpins the potential and properties of devoré. This material change from opacity to transparency allows a focal point on material, body and color. The loose and airy fit and the use of devoré is well describes by Yamamoto himself, that „(...) we need to put air between the fabric and the body—how big or how tight, how long or short.” (Yamamoto, 2018).
Fig. 5,6,7 - Yoshi Yamamoto Sprint/Summer 2018.
C o n c l u s i o n
The most vivid property of translucency is the possibility to create depth. This depth in interplay with color and the body generates the field of tension that is seen as the vital core of the design program- me. Ronan & Erwan Bouroullec make use of this field of tension and create contrasts in color and ma- teriality to enhance the effect of depth. By including shapes for visualization like the observers body or the chair (fig.1) the interplay of color, opacity/translucency and shape supports the installation. The 2010 presented collection of Jil Sander (Fig. 2) shows the clash in a garment related context. Typicall is the hiding and showing possibilites of opacity/translucency. But also the material shift of thick opacity into thin and soft translucency opens space for application areas in relation to fashion design.
G a b r i e l l e Ve n g u e r
graduate collection 2018 - devoré on woven velvet and single jersey knit
2018 the mexican designer Gabrielle Venguer graduated at RCA in London with the fashion collecti- on “Wearable instruments” with focus on knitwear design. Venguer is an example for the exploration of the devoré technique on knit in combination with woven velvet structures. Venguer worked with the transparency and layering proporties of devoré on knit in relation to the female body. In com- parison to Yamamotos devoré design Venguer‘s collection made use of particular pattern structures related to her cultural background which is part of her concept approach.
The knitted material construction combines a thin monofilament yarn combined with cotton fibres.
While burning out the cotton fibres with a certain print pattern, the thin transparent knit yarn stays.
This link of yarn qualities is often used in knit devoré designs to vitalize the transparency effect which makes is easily possible to include the body underneath and it‘s skin color. Venguar set the concept focus on this visual intensity of opacity and transparency and constructed similar to Yamamoto Ven- guer focused on familiar constructed garment types to highlight the manipulation effect. By using a thin knitted single jersey she enabled an elaborated transparency and inclusion of the body under- neath. Similar to Yamamoto Venguer made use of the typical velvet woven fabric which adds shine and stiffness compared to the light and flexible knit.
Fig. 11, 12, 13 - Gabrielle Venguer, graduate collection 2018 RCA.
C M M N S W E D E N
Fall/Winter 2019 - devoré on weave and knit
The swedish menswear brand CMMN SWEDEN introduced the devoré technique for the first time in the Fall/Winter Ready-to-Wear collection 2018. Similar to Venguer CMMN Sweden explored the technique not only on woven fibers, but also on a knitted materiality. Also here the combination of monofilament and cotton fibers supported the concept of a high opacity and transparency expres- sion. In comparison to the other designers mentioned above CMMN Sweden introduced a focus on the layering possibilites created by using devoré. When burning out the opaque cotton fibers of the material the monofilament allows the translucency of what is underneath. Especially in relation to different materialities and colors this effect creates a certain excitement between different garments and their layers.
Compared to the velvet material CMMN Sweden used a woven fabric that is based on a thin polyes- ter fiber linked with a gingham woven cotton fiber. A similar pattern approach is part of the knitted jumpers where a glen plaid check mustering creates the base of the material before the devoré. This graphical pattern notion in contrast to the organic „eat trough“ effect created by the burn out rein- forces the clash I am after as well in my main concept idea.
Fig. 8, 9, 10 - CMMN Sweden Fall/Winter 2018.
Ka Wa Key
graduate collection 2017 - devoré on knit
The Asian designer Ka Wa Key graduated 2017 at RCA London with his design collection “Double Je”
with focus on devoré knit in relation to garment design. This collection is an example for an exclusive knit collection which is based devoré as the main manipulation tool. Ka Wa Key solely used the yarn combination of cotton fibers and thin monofilament as the previously mentioned designers. Similar to them he explored the potential of opacity and transparency in relation to the body underneath the material and shape. His pattern work and expression supports the organic „eat through“ effect of the burn out technique, but in a smaller scale then CMMN Sweden for example. Ka Wa Key at- tributes a certain age to his garments and pushes its vividness. Similar to the designers mentioned above he constructed familiar garment silhouettes to support the materiality and it‘s effect. In case of the color concept he worked out a broad and vital color concept which is based on his asian cul- ture approach of his design roots. While the selected colors show a wide range of shades and tones the burned out transparency allows a calm balance including the humans skin. Different to Venguer Ka Wa Key also explores the devoré technique on thicker and diverse knit structures. This variety enables richness in materiality.
2.3 Idea/Aim
„(...) knitwear manipulated into conceptual surface patterns to conceal and reveal skin in unexpected ways.“ - Sarah Mower, 2009
The motive and aim of this work is to increase the value of the translucency, color and the body potential of devoré in regard to knitwear. Additionally to the most established ways of using the de- voré printing technique the State of the Art shows designers and their collections with a more expe- rimental approach to it. Gabrielle Venguer widened the possibilities of devoré and opened up a new expression of it when using a thin flexible single jersey with a high transparency effect due to the combination of monofilament. In contrast to the inflexible velvet fabric the jersey enables a closer link to the body and its movement, so it gains comfort. CMMN Sweden worked out a collection that combines the approach of devoré on inflexible (woven) and flexible (knitted) materialities. Instead of exploring print patterns as Venguer did CMMN Sweden made use of the typical „eat-through“
effect that can be created by devoré. Especially its raw edges and random pattern shapes support the burnout expression.
Ka Wa Key‘s exclusive focus on different knit bindings, structures and colors combined with the de- voré printing technique built a vital base for the design programme and aim. He works with a wide range of knitted structures based on different ribs, jerseys, cable patterns and varied gauges. This versatility in structure and also in color distinguishes from the other listed design collections. Howe- ver here the synthetic background fiber is monofilament, which is identical with and visualizes the same transparency.
This perceived similarities in devoré design related to fashion design illustrate a few gaps that open up space for new opportunities and approaches:
Variety in transparency effect through yarn and color
Variety in devoré pattern approaches, related to body/color/knit
Fig. 14, 15, 16 - Ka Wa Key graduation 2017
Those notes build the vital core of the following design programme and the collections aim. While most of the devoré designs on knit include monofilament as the transparent base the interest in eclec- tic approaches grew to achieve an excitement within devoré and knit. Additionally the possibilities of making use of the devoré in terms of shape, color and layering related to the patterns promise a field of experimentations. The following will debate about the link of stereotypical attributes of devoré knit like the flower, the eat-through effect and color approaches of patterns and transparency in relation to knit. While the textile approach of the garments becomes a vital focus, the silhouettes and garments construction may lives from its simplicity, where for the texture can stand out. Through strong color work I want to push the expression between opacity and translucency.
B u t w h y k n i t ?
Most of the time devoré is seen and done on woven fabrics made out of velvet, silk/viscose or other cellulose/synthetic yarn combinations. But due to the elasticity properties of knitted materials comfort is an important value in wearability. This appreciation of comfort and the shaping possibilities of knit in relation to the body open up many ways of interaction between body and material. When manipula- ting this material and shaping properties through devoré the field of tension can be increased. Whilst manipulating consistently opaque knitted areas with devoré the loss of burned out fibers pushes the elasticity properties of the then achieved translucent part even further. This burning away of cotton fibers leaves behind open space that widens the knit. So while the opaque non devoré part stays as it was knitted, the translucent devoré part becomes even more loose and elastic due to it‘s manipulated structure. This explored effect can of course just express visual excitement in opacity/translucency but also enhance its shapability in relation to the body. So when devoré can lengthen material, push elasticity and becomes translucent at the same time, maybe it can be seen as a construction method as well?
The following description of the overall design programme now leads to the degree work and its de- velopment step by step.
2.4 Design Programme
The explorative considerations mentioned above describe the fundament of the design programme that will be documented in the following sections. This exploration of opacity and transparency in relation to color, materiality and the body on knit with devoré as its vital tool includes several prin- ciples that will be tested:
new yarn and color approach for transparent background, instead of monophilament
make use of knit as a technique and its properties
exploration of devoré pattern related to material, color and shape
The following pictures show the knit, color and yarn experiments in terms of devoré from the previ- ous artistic research courses, which built the base for this textile approach.
first experiments with cotton, monofilament and lurex. devoré printing eat through effect
1, 2:1 rib 2, 3:3 rib 3, mock rib
The first steps were based on a structured strategy to test different knits and the polyester 120 over- lock yarn which is known for its soft properties and touch. Here the first tests show a selected range of rib bindings which are a typical element of knit design and enable a high stretchability. The first sample shows a 3x1 rib knitted with 3 red cotton threads and one polyester thread knitted together in one feeder. The green sample is made with an irregular rib pattern that only happens on the front needle bed, the back bed is a full rib setting, which lowers the flexibility of the material but supports the actual knitted width of the fabric instead of pushing the ribs together.
first experiments with cotton and monofilament, devoré printing eat through effect
first garment, dress with cotton/monofilament, devoré eat through effect
4, melange ribs with color shift 5, 3:3 rib 6, full rib
Here both samples deal with the interaction of colors. The material is knitted with 2 dark red cotton threads and the red melange part contains one red polyester thread in addition. This red polyester thread then is replaced with one light purple polyester thread to boost an exciting color play bet- ween the opaque melange and the translucent unicolored leftover area. This melange color shift openes up possibilities for more color interactions and color layerings inside the textile.
7, roll pattern lurex 8, tuck stitch pattern lurex 9, slip pattern 10, pointell pattern
Those knitted samples were based on binding explorations. The first one shows a ripple knit made out of 3 beige cotton threads combined with one gold lurex thread. When burning out the cotton fibres the thin lurex stays and visualizes a soft almost transparent version of the knitted ripples. Here the transparency effect becomes lower the thicker the ripples because of their dimensions. Same happens with the second sample where three brown cotton threads combined with one brown lurex thread are knitted with a random tuck stitch pattern. When burning out the cotton threads the thin lurex still follows the tuck stitch but in a thin and translucent way. Here the transparency effect is one of the highest because the binding is based on a single knit, which means less dimension and less stretchability. The third sample is a slip knitted pattern made out of three cotton yarns and one thick polyester thread. The leftover area of the polyester does not show the same level of transparency because the choice of the thread was too thick. Sample 4 is a pointelle pattern that combines three purple cotton fibres and one thin polyester overlock thread. Here the pattern effect at the leftover part becomes the most intense, what creates an excitement between opacity, transparency and pat- tern.
11, intarsia check 12, intarsia stripes
Another approach is the color combination of a selected color scheme through intarsia knit, where different colors and pattern are attached in the textile. A common pattern choice are graphical color areas as you can see in sample one. Here six squares are knitted in one full rib piece. This graphical expression was then also used to guide the devoré pattern to achieve different depth inside the squares, so a play between opacity and transparency related to color and square is explored. Becau- se of the fine gauge and the choice of full rib the transparency effect is not really high. A develop- ment of this material is made in sample two where intarsia stripes were knitted on a single needle bed, what means less yarn and flexibility. Here the opacity and transparency clash in relation to color becomes clear and catching.
13, spacer fabric 14, terry stripe, circular
Here the focus was set on unconventionel approaches with devoré on knit. The first sample shows a so called „spacer fabric“ which is based on an outer and inner single bed layer which is connected by a monofilament mesh in between the two layers. Both layers are knitted with two cotton threads and one polyester overlock thread. When burning out the cotton of both sides a semi transparent play between both layeres is possible. The monofilament mensh inbetween holds both layers together and creates a certain space which comes close to the touch of scuba. The second sample is knitted on the circular knit machines. This means a much finer gauge and thinner fabric. The circular knit machine allows the application of soft dimensional terry threads linked with a thin polyester back- ground as the base. When burning out the striped knitted cotton terry the thin white polyester in the background becomes focus.
The following check pattern was developed to enhance a strong color effect and combination, but at the same time to support the graphical pattern approach in contrast to the organic „eat through“ effect of devoré. This pattern clash pu- shes the expression of color and shape. This checked cape was knitted to interplay with a high color effect, the graphi- cal base and the organic burnout where the translucency was supposed to include the body and its shape underneath. Due to the binding choice of full rib the translucency effect was very low and almost not visible. But the overall approach has potential that can be developed further.
Here the mock rib in combination with plating was applied on a knitted jumper. The plating feeder in the machine pushes one chosen yarn to the inside (here the darker one) to create a color play inside the knit. This can be used to add depth and visual shadows to rib structures. When burning out this plated knit and its colors the single polyester color that is left enhances the „magical“ color shift. While the plated ribs add a graphical pattern expression to the knit an organic eat through devoré pattern can be used to push the clash of co- lor, material and pattern. Where this combination of a jumper and dress underneath is treated with gatherings as a finishing effect to add volume to the garments shape the devoré effect got lost. So the focus will be set on the textiles instead of the garments shape/construction.
Those striped pants are based on a circular knitted single jer- sey made with polyester that has cotton terry loops attached to it. These linked cotton loops (red) give the possibility to create a devoré pattern when burning them out and only the polyester back material is left (white). That possibility allows a free and vivid pattern creation besides the regular jacquard programming. So material and pattern can be treated diffe- rently. Here as well the graphical stripe invites to the use of organic print patterns to push the clash. The choice of a flo- wer print turned out as successful. Nevertheless the print pat- tern size here is way too small and can be treated way more bold. Here in this knit we have a contrast in material - the syn- thetic back materials is a very thin synthetic fibre that pushed lightness and slight translucency where for the terry loops of cotton add dimension and weight to the material. By burning out some parts of the thick cotton loops the pure thin back material gets space to become focus. By knitting even thicker stripes and using a thicker back yarn the materiality can be changed completely.
Those design experiences based on the explored materials built the base for the further develop- ments of the collection work. These decisions mentioned above, that a certain binding downgrades the translucency effect, that a certain finishing missleads the focus on the knit, or that certain pat- tern sizes can be pushed to even bigger scales, those analyses are explored further in the following development section. The positive outcome details were delivered further and for the bad aspects solutions were tried to be find.
too much volume and gatherings, missleading the focus on the body itself and the pure texture excitement of the devoré and knit. Devoré almost not visable.
K n i t D e v o r é
The devoré printing technique is the manipulation tool to achieve the desired clash of opacity and translucency. The choice of devoré is justified by the possibility to achieve different material- and color expressions inside one material. So beside programming patterns in the knitting machine this technique supports a more individual and interdisciplinary way of achieving patterns in knit.
The main function of the devoré technique is the translucency approach which is chosen to include the body and it‘s silhouette that is wearing the garment. By interplaying with the different materi- alites and colors achieved through the devoré the space between material and body and the body itself add depth to the visual expression and its interaction. To set the full focus on the knitted material and its devoré manipulation the garments silhouette choices are based on simplicity and straightness to give the material and the pure body more space to speak. As already mentioned the main aesthetic the collection follows is the clash of graphical and organic pattern approaches - the graphical rib structure is a typical characteristic of knit, whilst the organic eat through effect of devo- ré is a typical characteristic of the burnout printing technique. In addition to that the body itself de- scribes the organic section as well because of its natural curve lines. So the choice of intarsia knitted checks and stripes in combination with the organic body creates the clash as well. The same does the color work. Where natural tones meet bold flashing colors the clash is included also. That means the overall aesthetic is based on different „clashes“ - but clashes that should end up in harmony.
B o d y
To work with the body at the same time a sketching method helped to visualize the silhouette and print ideas. These sketches then built the base for further silhouette toiles. When reproducing the sketches silhouette the physical actions often lead to new silhouette findings, so the sketchwork goes back and forth simultaniously to the physical process.
So the first design decisions are made by:
knitting samples and thoughts - those samples and the silhouette ideas come together in the digital sketches - the silhouette is reproduced in toiles related to the sketch - the new findings lead to a new sketch - the new sketch and new outcomes build the final material and silhouette.
3. Method and Development
3.1 Method of exploration and development M e t h o d s :
For the methods of exploration the focus is set on the three aspects:
color knit/devoré body
C o l o r
To give the color work certain meanings the choice of colors was based on of course the own sense of color but also the importance of contrasts. Similar to the decision to push a pattern clash through graphical and organic meeting points the color choice is contrary as well. One of the first colors chosen was the light green, the light lilac, the strong red and the dark red. So during the process of making it turned out to be fruitful to find color siblings in each tone, like light red and dark red. This pairing of colors enhances the visual balance of a color concept. So the light green got a dark green, the light purple is paired with a dark mix of purple and blue and the off white got a sand and the brown to add naturality to calm it down. The natural tones of beige then turn more and more into colors. The yellow green tones turn into red purple tones which then turn into red itself. Through manipulating the knit by devoré additional color hues are created when the opaque brown turns into a see through brown for example, or a light green turns into an even lighter green.
Outfit 1: Melange Color Shift, Dress
• Look: 1
• Binding: Full Rib
• Material/Yarn : bottom, 3 cotton threads + 1 poly thread purple top, 3 cotton threads + 1 poly thread red
• Machine: Dubied, Gauge 8
• Aim: Color Shift, eat through effect, body D e v e l o p m e n t & A n a l y s i s
The development started with knitted samples from the earlier research course which then built the material for the sketches. After reproducing a physical toile the properties were analyzed and com- pared in relation to the sketch. This evaluated toile then builds the base for further developments and a first knitted example where the possible print pattern can be tested. This evaluation is made through a fitting with pattern testings in photoshop (see next page).
To push the devoré properties which subsist on its eat-through effect and raw edges the print pat- tern shape for the final dress describes a contrast to the long and straight silhouette of the dress.
The use of an organic shape of the print visualizes the haphazard devour through the fibers - but decided consciously. To highlight particular attention on the female silhouette the position of the print focuses on a vital aesthetic area of the female body where breast, waist and hips build a sen- sual interplay of shape. The shift of the color supports the attention here. The choice of color and its shift shows a clash in color from soft to strong. Also the horizontal stripe expression made by the melange knit in contrast to organic devoré shape and its plain colors supports the clash and includes
Melange color shift samples, 3 cotton/1 poly thread, rib testings sketch of silhouette
too straight, preferly more organic, longer K e y v a l u e s
straight/organic elegant/casual comfortable/heavy opaque/translucent
soft/strong loud/silent
This melange dress is more or less a further development of the first dress to push its properties a bit more and to increase the devoré effect. While the first dress is long and has the color and devoré focus in the middle of the body, the second dress makes use of a bigger devoré part to include the body underneath even more and to highlight the beauty of the leg. Instead of just knitting full rib all over, here an irregular rib structure is used to create tightness on the upper part. At the same time this tightness becomes a shaping tool due to its tension. This tight rib knit builds a contrast to the more lose full rib of the lower part. While the upper rib part supports a vertical stripe structure, the lower part visualizes a horizontal stripe due to the melange effect.
Here the devoré leaves behind a thin almost transparent layer of polyester with the color shift. Dif- ferent to the first dress the devoré part consists of two different knit bindings that meet at the shift point as well. Here the upper rib structure follows in the blue devoré part in a magical way, but even more loose and translucent. The choice of knitting a shorter dress is justified by the shaping proper- ties of devoré. The long devoré part becomes very light and loose compared to the opaque heavier knit parts, which pulls down the light and loose part - in this way a shaping of the seam is achieved which curves down on the right side. This falling effect turned out as a vivid aesthetic in all of the garments.
Outfit 2: Melange Color Shift, Dress 2
• Look: 2
• Binding: irregular rib, full rib
• Material/Yarn : bottom, 3 cotton threads + 1 poly thread purple top, 3 cotton threads + 1 poly thread red
• Machine: Dubied, Gauge 8
• Aim: Color Shift, eat through effect, body, dropping down
23
K e y v a l u e s straight/tight elegant/casual comfortable/heavy opaque/translucent
soft/strong loud/silent
The mock rib is a rib structure with less elasticity effect because its knitted mainly on the back bed with selected needles on the front bed. So the selected full ribs define the striped effect. When bur- ning out the cotton fibres the lines where only the back bed knitted are slightly more translucent than the lines where full rib knitted because here the double yarns meets. This high translucency effect gives the chance of layering possibilites because its easy to see wants underneath. By knitting two equally rectangled panels and sewing them together at the sideseam a wide and sharp armhole and shoulder creates a exciting shape play between shoulder and arm. The graphical knitted stripes allow to work with a more organic devoré pattern in contrast. Here the inclusion of the female body, its breast/waist and hips is made by an oval devoré pattern that shows one side of the body in an asymetrical way. Also here the side where devoré was applied the material become much wider and even more loose compared to the non devoré side - so the left side droppes down.
Outfit 3: Rib top with terry pants
• Look: 3, top
• Binding: Mock rib
• Material/Yarn : 4 cotton threads + 1 poly thread
• Machine: Dubied, Gauge 8
• Aim: eat through effect, layering
simplicity works best K e y v a l u e s
straight/round elegant/sporty opaque/translucent
soft/strong sharp/blurred
monochrom/vivid printing paste applied
The pants are made out of a single jersey knitted on the circular machine. The material is knitted with a very thin polyester thread as the base where then selected rows of cotton loops are applied to the surface. These linked loops are just attached to the polyester background so when burning them away the material would not break or unrevel. This chance gives the possibility to apply the print paste in individual ways. Here the choice of a plant pattern as the organic shape takes up again, but in much bigger scale to push its size possibilities. To do so the full length of the leg was used.
By layering the top and the pants the devoré structure of the top and the striped terry structure of the pants create depth.
Outfit 3: Rib top with terry pants
• Look: 3, pants
• Binding: single jersey with terry stripes (4 rows cotton)
• Material/Yarn : poly backside with cotton loop stripes connected
• Machine: Circular Machine, Gauge 24
• Aim: print pattern/organic plant, long, fluent
terry knit with polyester background (brown)
and 8 rows of cotton loops terry knit with polyester back (white) and 4 rows of cotton loop, plus devoré printed plant motive
sketch of silhouette and print
K e y v a l u e s straight/organic elegant/sporty dark/light
symetric/asymetric
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This dress is also made out of a single jersey knitted on the circular machine. The material is knitted with a thicker polyester thread then the pants want means the knit is thicker and heavier in general.
The linked cotton loops are also knitted in thicker stripes, so with more cotton rows compared to the pants. So the dress is less fluent and soft in its touch. Here the choice of the plant pattern as the organic shape takes up again, but in much bigger scale to push it‘s size possibilities. To do so the full length of the leg and the torso is used. Due to its heavier weight the choice of a straight even dress supports the focus on the material and its devoré pattern. Also the choice of the construction of the dress is made to connect its shape and length to the first melange dress. Both dresses are long straight and loose but visualize two different material approaches. In contrast to the „turning lighter“ after burning away cotton fibers here opposite happened due to the color choice to make the background material darker. So here is no focus set on translucency, more on the color change and pattern change.
Outfit 4: Terry stripe dress
• Look: 4, dress
• Binding: single jersey with terry stripes (7 rows cotton)
• Material/Yarn : poly backside with cotton loop stripes connected
• Machine: Circular Machine, Gauge 24
• Aim: print pattern/organic plant, long, straight
terry knit with polyester background (brown)
and 8 rows of cotton loops terry knit with polyester back (white) and 4 rows of cotton loop, plus devoré printed plant motive
sketch of silhouette and print
K e y v a l u e s straight/organic elegant/casual dark/light
symetric/asymetric
The intarsia striped dress has it‘s focus on the graphical stripes which stretch the body length. The intarsia knit allows to combine different colors in vertical length through 5 feeders in this case. By burning out parts of each stripe it can be decided how much of the body underneath will be shown.
Especially the length of the leg is aesthetically chosen to come through the most. Also here the big- ger the devoré pattern size is the looser and longer becomes the knit compared to the non devoré part (see next page) which creates a vivid hem compared to the straight dress. To add a completely nudish part of the body to the overall expression a sleeve is just applied to one side, so the arm on the right side creates a vital part of the different stages of opacity/translucency and nudity.
Outfit 5: Intarsia stripe dress
• Look: 5, dress
• Binding: single jersey intarsia stripes
• Material/Yarn : 2 threads cotton, 1 thread poly
• Machine: flatbed, Gauge 12
• Aim: graphical pattern, body as organic element
K e y v a l u e s straight/organic elegant/casual dark/light
opaque/translucent
symetric/asymetric loud/silent
The intarsia check dress is also a graphical pattern approach with the body as the organic compo- nent underneath. The choice of the check pattern turned out as a vital pattern tool between opacity/
translucency and the body that is wearing the dress. The check pattern that describes strict lines and squares becomes alive while wearing it due to the curve shapes of the female body and the tight rib.
The more the body curves the more the check/lines start to curve as well what pushes the interaction of garment, color and body even more. At the same time the manipulated parts of the knit shape even more due to its high elasticity and the fact that the parts become wider/longer. Here the sleeves build a shape contrast as well - the right sleeve is a tight knitted straight sleeve with devoré on the bottom part to include the hand and the way to long sleeve expression, its softness and sensitivity.
On the opposite side the sleeve has devoré on the upper part - here the part becomes much wider and looser what allows a more voluminous and wider armhole compared to the tight sleeve on the other side. Especially when gathering the left sleeve the volume and translucency becomes vivid.
Outfit 6: Intarsia Check Dress
• Look: 6, dress
• Binding: irregular rib intarsia
• Material/Yarn : 2 cotton threads, 1 poly thread
• Machine: Flat Bed, Gauge 12
• Aim: graphical check, organic body, devoré as shaping tool
irregular rib structure, high full rib check, less translucent sketch of silhouette and print 37
K e y v a l u e s straight/organic elegant/casual dark/light
opaque/translucent
symetric/asymetric loud/silent
tight/loose
The last outfit takes up again already developed approaches. The blue top is made similar to the green top, but with a even bigger rib stripe and longer. Due to the darker color the translucency effect is slightly lower than before. To seperate the top a bit more from the green one maybe the devoré pattern could go more in a graphical direction where the body underneath defines the or- ganic shape.
The pants are knitted the same way as the intarsia striped dress. This repetition of patterns supports a balanced concept overview to hold each outfit together. The pants are mainly used to repeat the intarsia stripe and pants silhouette, but exploring a new color combination.
Outfit 7: Mock rib top and intarsia pants
• Look: 7, top and pants
• Binding: top - mock rib
bottom - intarsia stripe
• Material/Yarn : top - 4 cotton threads, 1 poly thread bottom - 2 cotton threads, 1 poly thread
• Machine: top - Dubied, Gauge 8 bottom - flat bed, Gauge 12
• Aim: graphical stripe, organic body and devoré, link
sketching session, physical and digital tests
how it was planne d how it is rn
4. Discussion and conclusion S H A P E
When reflecting the gained collection work several points need to be discussed. Due to the strong focus on the wearing body, so the silhouette of the female body, new opportunities open up in re- gard to the body and shapes. While the chosen model reflects a female shape with less individuality in curves and proportions the possibility of exploring different body types could showcase individual shape properties. Especially when focusing the meeting point between breast, waist and hips diverse silhouettes could be explored and analysed in regard to its visual shaping impact. While the knitted materials are based on highly flexible and elastic properties the stretching out could be enhanced and pushed even further with several different body types. When looking at the tight check dress, where the body shape influences the check pattern and its lines a even curvier silhouette could visu- alize exciting new expressions when being documented. As well the long melange dress with the red/purple color shift which focus is set on the interplay between breast, waist and hip a different body inluence could be achieved with diverse body types. Also here a tightness on the hips could be explored and analyzed due to it‘s possible effects. The same could be explored with different skin tones and types which could impact the color expressions even further.
The choice to work with comfort and simplicity in shape without much construction led to long straight dresses, trousers and tops which in the overview end up in similarity in lengths. While the dresses work with almost the same lengths and straightness a better excitement in length could be achieved. The long brown terry pants with the big plant devoré already support the length of the female body, the same does the purple long terry dress. Here an opportunity could open up to in- troduce a further play with the length. While some garments live from it‘s little length changes due to the devoré properties the purple terry dress could introduce a more constructive play with the un- even length play by shortening it and constructing an already curved hem line. While the green and blue rib top both turned out slightly too similar in its length the blue top could be worked out even longer which at the same time would mean more interplay between the opacity and translucency layering between top and pants. Not to forget is the tight check dress which gives the possibility to be draped and gathered around the body, this also allows a change of length. On the next page a possible line-up is shown which explores this possible length changes. This play between printed length changes and constructed length changes could be a vital concept to develop further to en- hance variety. This concept of asymmetry in the hems could now open up for additional garments and sillhouettes. While the check dress showcases an example of shaping impacts by knitting and devoré in combination with the body the constructing of curved lines is a exciting chance to work with less flexible knit materials like the terry jersey which does not interact much with the body and the devoré does not inluence the silhouette - here the use of print patterns like flowers for example in relation to constructed shapes could add vividness. This also can help achieving a closer examina- tion of the devoré properties. If the devoré properties in knit open up certain shaping opportuneties, maybe this developed way of gaining new lines could be seen as constructing concept as well.
A P P L I C A T I O N
When thinking about an applied version of the collection and textile work it becomes clear that the use of devoré can become an obstacle in regard to industrial production and especially in regard to sustainability issues. While the knitted materials in general need to include a combination of cellulo- se fibers and synthetic fibers a recycling and biodegrading of the material is almost impossible. But furthermore the printing technique of burnout means a high chemical reaction on the fibres which means a pollution of water and a high waste of water at the same time. The printing technique devo- ré turned out as a vital conceptual tool in regard to translucency, color and shape and for combining the novel gained textile knowledge of knit and print. This concept could now be focused and deve- loped further in only knit itself. Achieving the interplay of translucency/opacity, looseness/tension, short/long a programming of the translucent and opaque parts is necessary. By programming the translucent shapes with a much lower tension compared to the opaque parts a change of length and volume could be worked out. This process would take away the unsustainable burning away of cotton fibers. This shift from printing exclusively to knit would require a closer examination of pro- gramming knit and bindings. This could open up for a new research project to enhance the knit skills.
In addition to the sustainable improvement the shaping outcomes could be more controlled that way because the spaping already happens in the knit itself while the printing process meant a more uncontrolled result. When printing/burning out the different bindings the outcome of the material was changes were less calculable. By testing the tension changes of the knit by programming the tension changes the result can be more controlled.
Reference list, I m a g e s
Fig. 1, 2 Raw Color blends Available from: https://www.designboom.com/art/ldf- london-design-festival-2016-raw-color-blend-08-17-2016/ (Accessed 2020-02-20) Fig. 3 Jil Sander, RTW 2010 Available from: https://www.vogue.com/fashion-shows/
spring-2010-ready-to-wear/jil-sander (Accessed 2020-02-21)
Fig. 5, 6, 7 Yoshi Yamamoto, 2019 Available from: https://www.vogue.com/fa- shion-shows/spring-2018-menswear/yohji-yamamoto#coverage (Accessed 2020- 02-25)
Fig. 8, 9, 10 CMMN Sweden 2019, Available from: https://www.designscene.
net/2019/01/cmmn-swdn-fw19.html
Fig. 11, 12, 13 Gabrielle Venguer, 2019 Available from: https://indie-mag.
com/2019/11/gabrielle-venguer-knitwear/
Reference list, L i t e r a t u r
Mower, Sara: Vogue 2009, Available from: https://www.vogue.com/fashion-shows/
spring-2010-ready-to-wear/jil-sander (Accessed 2020-02-25)
Singer, Margo: Textile Surface Decoration: Silk and Velvet. Paperback 2007 Vannier, Charlotte: Unravelled: Contemporary Knit Art. Hardcover 2018
Yamamoto, Vogue 2019, Available from: https://www.vogue.com/fashion-shows/spring- 2018-menswear/yohji-yamamoto#coverage (Accessed 2020-02-25)
