Apparel

Textiles and

Design Community

2019 Design Showcaseand Exhibition Catalog

Best of Show 2018 (Student)“Rooted in Confidence”

Emily Martin & Andrea Eklund, Central Washington University

Best of Show 2018“Phalaenopsis Amabilis 1”

Ja Young Hwang, Kent State University

Best of Show 2018“Bogolanfini”

Tameka Ellington, Kent State University

Apparel Textiles and Design Community 2019 Juried Presentations

Alayna Aiken “Kenya Sew” Cape HenlopenEducation Association

Deborah Belcher, Gina Pisut & “Midnight in the Garden of Good Middle TennesseeLauren Rudd and Evil” State University

Chanjuan Chen & “Oxford Lattice” Kent State UniversityKim Hahn

Chanjuan Chen & “Transformative Doily” Kent State UniversityKendra Lapolla

Farrell Doss “My Grandmother’s Garden II” Radford University“Tweeding It”

Andrea Eklund & “In Defense of Being Average” Central Washington Tina Beamon University

Andrea Eklund & “We are Here” Central Washington Tavares DeLeon University

Ja Young Hwang & “Perspective Rays” Kent State UniversityKim Hahn

Ja Young Hwang, “Phalaenopsis Amabilis 2” Kent State UniversityVince Quevedo &Linda Ohrn

John Jacob “Digital Deco” Radford University

Young-A Lee “Transition with a Layered Protection” Auburn University

Jane Opiri “Elegant Kitenge Changu” Tara High School, Baton Rouge, LA

Joyce R. Robinson “Lady Gray” Indiana State University

Virginia Rolling “Atmospherics” Delaware State University

Astrid Vidalon & “Ronin, the cosmic Anaconda” Central WashingtonAndrea Eklund University

Lorna Wounded Head “Emerald Star” South Dakota State University

Eunyoung Yang “Cascade” Meredith College“Indigo Lantern”“Tiers of Brushstrokes”

Abstract:

I have always wanted to be a missionary to Africa. My wonderful husband was notinterested in any adventures to any third world countries. I focused on raising ourtwo kids; once they were in school, I became a FACS teacher. That extra incomepaid for a my first mission trip to Kenya in December 2016. We visited orphans andwomen’s groups in remote villages. I soon discovered four broken, abandonedtreadle sewing machines and no teacher. I felt overwhelmingly led to teach them.I called home to ask my husband and two teenagers if they would spend theirSummer of 2017 living among the Pokot tribe of Kenya. To my surprise, they allagreed.

As a teacher, I know the highest order of thinking is CREATING. The Pokot womenwere surviving horrible cultural practices and living conditions. Learning a skill likesewing would lift these illiterate women out of poverty and help them feel the divinepartnership and freedom of spirit that comes from creating. Our family’s summergrew into a non-profit organization—Kenya Gather Foundation—purposed ineducation and vocation projects for impoverished communities.

My project is titled Kenya Sew. While it’s a play on phonetics with “Can you sew?,”its purpose is to show tribal women how to sew with native fabrics. For the process Iused the pattern pieces and directions from Vogue V9201. I made adjustments tothe grain line of the pattern pieces to get the most interesting parts of the fabricpanel. For the technique, I used a serger for the seams, and a treadle machine forthe zipper, button holes, and hem to learn to sew without electricity. For materials, Iused thread, metal buttons, invisible zipper, lightweight interfacing, and two 100%cotton panels which were made in Kenya.

Alayna Aiken

“Kenya Sew”

Abstract:

The design, Midnight in the Garden ofGood and Evil, is a three part, fluidcombination of corsetry, quilting withdimensional applique and metaljewelry work that embodies asensual, botanical interpretation ofevening ware. The Victorian stylecorset produced with wire boningand sequined fabric accentuates thefeminine form and is the focus of theensemble. The corset highlights thefalse modesty of an undergarmentcombined with overtly seductivecurves accentuating the feminineform. The fluidity of the meanderingvines quilted in silver thread withbeaded leaves found in the skirtsuggests an evening stroll through aspring garden on a starry night. Thefloral neckpiece delicatelyembodies the juxtaposition of hardand pliant with the shimmering wireblossoms. The use of wire for thisneck piece hints to the hidden,internal structure of the corset and isrepeated in the metallic thread of thevines. The achromatic colorharmony reflects the deep, darkshadows of midnight contrasting withbright, sparkling moonlight.

“Midnight in the Garden of Good and Evil”

Deborah BelcherGina Pisut, & Lauren Rudd

Abstract:

With swelling textile waste in the fashion industry, it isincreasingly important for designers to explore newways of upcycling. This design was a collaborationbetween two designers who have different researchbackgrounds. One of the designers has previouslyexplored upcycling with secondhand men’sgarments, while the other designer has beenpracticing hand weaving techniques. Utilizing thestrategy of upcycling, combined with a weavingtechnique, the purpose of this design was todevelop a sustainable garment through refashioningand adding significance to secondhand men’s dressshirts, while also creating an origami flower-inspiredoutfit with innovative surface designs.

The process began by deconstructing six men’sdress shirts that were made from 100% cotton shirtingfabric. All six shirts were blue striped with differentstripe widths. Since most of the construction detailswere faced from the original shirts, they were kept aswhole components for reuse. Arranged from densestripes to loose stripes, some of the collars, placketsand cuffs were layered to create origami flowerpatterns on each side of the dress as pockets for thepurpose of both functionality and aesthetic. The restof the dress was finished with different shirts cut intostrips and sewn together to fit the curves of the bodyshapes.

A weaving technique was used to create the cape.First, a flat pattern was used to create a capepattern and a woven surface was developed basedon the pattern. All the back pieces from the dressshirts were hand cut crosswise into half-inch strips.Then the cape surface was created by weavingtogether every strip in a progressive order from twoseparate axes, progressing from dense stripe toloose stripe patterns respectively. The edges of thecape were finished with a bias tape.

The materials were second-hand men’s dress shirts.

Chanjuan Chen & Kim Hahn

“Oxford Lattice”

Abstract:

Modular design is a design approach that featuressmall standardized units that can be independentlycombined in various configurations to createdifferent forms and provide multiple functions.Modular design has the potential to be ubiquitousthrough the ability to transform and create abeautiful utilitarian experience for anycircumstance. Inspired by historical crocheteddoilies, the purpose was to explore transformabledesign by integrating the concept of modularity andlaser cutting. Each laser cut suede piece can becombined in various ways to create differentgarment configurations.

The process started by developing two modulardesigns inspired by doilies on Adobe Illustrator. Aflower shape was created representing the outline ofthe doilies. The spaces between the threads weretranslated into cutouts on the modules. Slots on eachof the petals of the module were carefullypositioned. After two module designs weredeveloped, black faux suede was used to cut all theshapes on a laser cutting machine. Three differentsizes of the two module designs were used, resultingin increased complexity of the final design.

The faux suede modules were then interlockedtogether to create the dress design. A cocktail dresswas formed with the two modules from smallershapes on the bodies and gradually changing tobigger shapes on the hem. When multiple shapescombined, the overlapping petals from each piecegenerated a three-dimensional effect. Modulardesign concept allowed the design to be easilytransformed into a different look, allowing forpersonalization. To achieve a different look, themodules on the shoulder and the sleeves could bereplaced with a different shoulder design, whileshortening the dress hem by taking out the skirt train.The material for this design was faux suede fabric.

Chanjuan Chen & Kendra Lapolla

“Transformative Doily”

Abstract:

My Grandmother’s Garden II continues thecelebration of femininity and resourcefulnessby imagining a bold floral and stripe remnantof fabric as a refreshing spring dress andjacket ensemble. My grandmother did notwaste (out of necessity) and was one of theearly sustainability voices in my community.

This two-piece ensemble honors her passionfor gardening and thrift. The boldpoly/silk/cotton floral stripe dictated its use.Flat patternmaking techniques were used tocreate the pattern for the dress and bolerojacket. Draping techniques were used torefine the prototypes and correct fit anddrape issues.

The strapless dress is accented by a black silkgazar midriff. There is no side seam in eithergarment. The elimination of side seams givesthe garment’s grain a unique twist as it wrapsaround the body. A center back zipperprovides closer. Both dress and jacket arelined with 100% polyester fabrics and thefinished pieces are accented with poly tullepleated embellishments.

Farrell Doss

“My Grandmother’s Garden II”

Abstract:

The idea for “Tweeding It” came from adraping assignment with my students. Instudio, we challenged ourselves to applythe cowl draping technique in traditionaland non-traditional applications using 100%wool fabrics. This design uses the necklinecowl as the traditional application; butreimagined the skirt as an inverted pleatedcowl in the front with a flared skirt in theback. The prototype was draped withoutside seams. However, due to fabric widthlimitations, side seams had to be added tothe skirt. This required a sophisticatedbalancing act to obtain the desired seamat the side back and side front intersection.

"Tweeding It" is made from a vintage, 100%wool lightweight tweed. The bodice has ahigh midriff with shoulder pleats thataccents the cowl neckline. The back of thedress employs an invisible zipper closure.The inside is finished with 100% silk fabrics.“Tweeding It” served as a unique solution tothe design challenge in the draping classassignment. It helped the students seeprocess and best practices employed indesign exploration, prototypedevelopment, and final execution andfinishes.

Farrell Doss

“Tweeding It”

Abstract:

The purpose of this garment was to mix the soft and hard both physically andmetaphorically. I wanted to influence both a cognitive and physical stimulus ofserenity. Allowing the viewer to step into a world of calmness and strength.

Calming skin tone shades mixed with gold metallics were utilized to balance thecolors. The main textile used in the design is the fringed fabric which was found in theupholstery section. I was instantly inspired be the textile and designed the garmentwith it in mind. When the model walks the fringe swings with her movements andcreates a beautiful aesthetic. A cream and gold brocade textile was used for thedetailing around the neck, armholes, princess line detailing and detachable belt. Thebodice features a mandarin collar with a fitted silhouette. The skirt is fitted through thewaist and hips then falls straight to the floor. A center back slit allows for ease ofwalking and an exposed zipper add detail to the center back.

Draping and flat patterning were utilized to create the design using the modelsmeasurements to assure a fitted silhouette. Once the patterns were created, a samplewas constructed and a fitting followed. From the fitting the patterns were adjusted andthe final fabric cut. The fringed upholstery textile was challenging to work with and Iwas careful not to catch the fringe in any seams. The brocade textile was challengingto work with due to the stiff hand and thickness. It was carefully trimmed, folded andadded to the princess seams, assuring to stay centered. The mandarin collar andarmhole binding were carefully added to finish off the bodice edges.

This garment is unique in the style and combination of textiles. The texturedbrocade and fringe are in contrast to the flat satin of the bodice and creates ajuxtaposition throughout the garment. The garment is for those with louderpersonalities, those who like to be daring. I wanted to create something that“educates the eye” as Bill Cunningham said, something that speaks to you in otherways than visually.

Bill Cunningham New York. Directed by Richard Press. First Thought Films, Mar 16, 2011.DVD.

Andrea Eklund & Tina Beamon

“In Defense of Being Average”

Abstract:

In today’s society, we see fashion designers “takinginspiration” from cultures the world over, in many cases this iscultural appropriation. When designers choose to makeclothes that are indicative of different cultures without doingproper research into the cultures and garments themselves,it shows a lack of sensitivity for how it may make peoplefrom those cultures feel. Since I am of both Hispanic andNative Mexican descent, I wanted to make something thatwas respectful to my heritage, while also being modern.

This design is inspired by Mexican culture and to assureI was being respectful of this culture I contacted myuniversities Movimiento Estudiantil Chicano de Aztlan(MEChA) organization. During an initial meeting wediscussed traditions and body adornment and later aftermuch discussion the group approved the preliminary design.Members of the universities Equity and Services Councilbestowed old MEChA graduation stoles from previous yearsthat could be incorporated. The purpose of this design is torespectfully denotive Mexican aesthetics and traditions witha modern twist and to evoke a sense of relaxation and pride.

The design process began by sketching a preliminarydesign based off of the extensive research. I wanted asimple hoodie, jean-inspired pants, and a removableponcho. The patterns were created through the flat patternmethod. Two samples were made through the fitting processwith the model and changes made to the final pattern. A100% cotton white twill fabric was used for the pants, 100%polyester white knit fabric for the hoodie, and a 100%polyester black woven fabric as the base of the removableponcho. The gifted graduation stoles given to me by MEChAand pieces of white blanket I purchased from Goodwill wereintegrated into the design.

All the traditional elements I added were based on theremovable poncho and the MEChA stoles. One of the stoleswas also used as a belt, similar to those of the charro and theRarámuri tribe. The poncho is instantly recognizable by itsform, and the stoles have the colored fiesta stripes with fringeat the ends, which are indicative of the traditional sarape.The sarape itself is a long, rectangular piece of fabric that isused like a shawl. In the end the design made use of analmost equal amount of modern and traditional elementsthat is respectful to the Mexican culture.

Andrea Eklund &Tavares DeLeon

“We are Here”

Abstract:

The purpose of design was to develop a sustainabledesign through the use of re-purposed and post-consumermaterials inspired by an Op-art artist. The work of Britishpainter and designer Bridget Riley was used as a source ofinspiration. Several pairs of post consumers’ khaki pants intwo different hues with different sizes and shapes werehand-cut and sewn together to create a fabric surface forthe top and the skirt.

To increase garment productivity and sustainable, severaldifferent methods were used. First, the pattern pieces for atop and skirt were developed into flat digital patterns usingAdobe Illustrator and 2D patternmaking software called“OptiTex”. Using such computer-aided design programsenhanced pattern accuracy and productivity by reducingthe time invested in creating patterns and motifs. Prints andpatterns were executed with computer-aided software toreduce the total cost of making the garment. Thedesigners first created a small-scale paper garment to seethe pattern on the garment. Top and skirt patterns werethen drafted using 2D patternmaking software. Thefollowing lists explain how the different programs wereused throughout the design process: 1) the general shapesof the top and the skirt were created with using OptiTex. 2)The bodice was then exported to Adobe Illustrator fordrawing the Op-art pattern inside the bodice shape. 3) TheImage / pattern created in Adobe Illustrator was exportedback into OptiTex to trace and re-create the individualpattern pieces. After all the pieces had been traced andre-created, a ¼” seam allowance was added to all of thepieces at one time using OptiTex software. 4) After thepattern pieces had been created using OptiTex, a markerwas created to minimize the use of paper.

Ja Young Hwang &Kim Hahn

“Perspective Rays“

Abstract:

The purpose of this project was tocustomize a design and create acontemporary evening dress for aclient, a school donor, who wasattending two University events: auniversity founder’s ball event, and abotanical garden’s orchid show entitled“Fashion meets Botanical Garden”. Thefirst aim of this project was toexperiment with and showcasedirections in which technology cantake us closer to full customization withrespect to patterns, prints, colors, sizes,and shapes best suited for customers.Second, the dress was purposelydesigned to showcase the increasingimpact of technology in the world offashion. Third, the designers designedand produced evening wear that wouldfeature how new technologies such as3D knitting machine can open up acontinuously expanding array ofcreative possibilities and spawn acomplex set of solutions for designers.Fourth, the intention was to create asensible, ready-to-wear, contemporarygarment that could potentially bemarketed by any large retailer. Finally,the dress was to demonstrate thedesigners’ own interests in howintegration of technology, particularly3D knitting machine, allows designersto visualize and explore new creativepossibilities during the design process.

Ja Young Hwang, Vince Quevedo & Linda Ohrn

“Phalaenopsis Amabilis 2”

Abstract:

This piece explored technical principles of designassociated with Madeleine Vionnet, although inlaser cutting. Vionnet’s garments often hanged onthe bias but were cut and sewn on the straight andcrosswise grain (Kirke, 1988). Another aspect thatcharacterized Vionnet’s work was surface designand embellishment (Kirke, 2012). I therefore aimedto create a dress that hangs on the bias with alaser-cut surface design honoring Vionnet’stechnical principle of cutting on the straight andcrosswise grain. Such an approach loaned itself toa geometric motif, which is in keeping with ArtDeco aesthetics that dominated fashion duringVionnet’s époque.

The process began with slopers imported intoAdobe Illustrator. Flat pattern work preceded thelaser cut surface design. The bodice pattern workincludes an asymmetrical neckline and jaggeddiagonal dart-incorporated seams, with rightangles, that followed the straight and crosswisegrain as closely as possible while incorporating thedarts. The bias flared skirt derived from the invertedfront and back waistlines of the bodice. After amuslin test fit of the basic dress, the laser cut designwas applied, tested and corrected.

The final dress was laser cut in red polyester satin.The red garment pieces became the pattern tohand cut a cyan polyester satin under layer of thebodice and skirt pieces. The red and blue layerswere joined by machine stitching then treated asone layer to construct the garment. The diagonalbodice seams are machine stitched and pickstitched by hand to embellish and emphasize thedesign. The armholes and hem use bias boundfacing techniques. A hand-picked zipperapplication finishes the dress to further emphasizethe fusion of 21st century technology with thecharm of hand-applied techniques that one findsin the great tradition of luxury that Vionnetexemplified.

ReferencesKirke, B. (2012). Madeleine Vionnet. San Francisco: Chronicle Books

John Jacob

“Digital Deco”

Abstract:

Purpose: This two-side transformable scarf design reflects the designer’scurrent life transition. The combination of vibrant and neutral colors recalls thewave of her lives and portraits the change of internal moods in her daily living.This design is unique in terms of application of Korean traditional hanbok andjogakbo (considered as Korean traditional patchwork) into contemporaryscarf design, and the visual experimentation of relationships between 2Dshape and the evolving 3D structures. This design also presents the beauty ofhand overcasting and running stitches and reassures the delicacy andauthenticity of a traditional construction technique. This aesthetically pleasing,transformable scarf can be displayed or worn in multiple ways.

Process and Techniques: This design involves multiple steps, including designideation, selection of material and hand stitch techniques, and assembly.Considering a zero waste design approach, the design was created by usinga simple pattern development technique using geometric shapes. Simplepatterns that can minimize fabric wastes were developed by consideringvarious sizes and shapes of the naturally dyed fabric scraps donated by aKorean traditional artist. Each side of the scarf was separately designed: oneside applied a jogakbo approach using the fabric scraps with vibrant colorsand the other side emphasized a natural beauty using a light cream color silkas a main piece with the accent running stitches on it. Threads with yellow-gold tones and other vibrant colors were selected for hand overcasting andrunning stitches of the design to provide decorative accents. Total of 75 hourswas used for hand stitching excluding all other design processes.

Materials: Silk, ramie, and other unknown fabric scraps naturally dyed withpersimmon leaves and peels, green tea leaves, tangerine peels, or red grapepeels were used. Yellow gold tone, 100% viscose/rayon thread and 100% silkthreads with various colors were used.

Young-A Lee

“Transition with a LayeredProtection”

Abstract:

Most African immigrants first generation findthemselves engrossed between the home andhost cultures as they struggle to acculturate, andthus a fusion of African and Americancontemporary clothing becomes a choice. Thisresulted in the creation of ‘Elegant KitengeChangu’ which means my dress in Swahililanguage. The purpose of this creation was todesign a summer garment for a twenty-two-year-old African immigrant woman who wanteda blended design of western style and Africanculture. The designer created a cultural piecethat provided aesthetic and cultural satisfaction.The designer applied the conceptual model ofFEA by Lamb and Kallal (1992) to create a piecethat is; functional-fits well and has ease to use;expressive - communication and symbolic ofconsumer’s culture, and aesthetic - beauty andstyle appealing to the consumer. African fabricwith motifs was suggested to blend with otherfabrics. The fabric was draped on a mannequin,pattern pieces were developed and transferredto make a prototype. The garment pieces werethen cut. Flat pattern making techniques,draping, tailoring techniques were used forgarment construction. A motif ‘a pot’ which hasa symbolic meaning was cut out of the fabricand carefully hand appliqued to the skirt.Fastenings were attached. Both the skirt and thetop were lined for a professional finish. Designelements such princess lines, balance andcolors were used, fabrics were 100 % cotton. Thesignificance of this design is to understand howculture influences the choice of apparel and isused for identity and self-expression. This designextends the FEA model, the symbolic meaningand cultural identity that individuals attach totheir clothing. It also contributes knowledgetowards the acculturation of dress and clothingpreferences among immigrants in the US.

Jane Opiri

“Elegant KitengeChangu”

Abstract:

Purpose: The purpose/inspiration for this garmentwas to create an elegant wool jacket that isindividualized for someone sensitive to wools. Thefacings and under collar pieces that rest againstthe skin were replaced with a microfiber toprotect the individual from skin irritations.

Process: The entire garment was flat patternedfrom a basic torso sloper and one dart sleevesloper. The pattern was tested in muslin for fit andconstruction. Adjustments made (in the sleeve fit)and transferred to the final pattern. Facings andlining pattern pieces were drafted from the finalouter shell patterns. Construction of the garmentbegan with the outer shell; darts, princess seams,and front pockets. Front and back panels werejoined at shoulder seams and the collar insertedat neckline. The side seams were constructedand the sleeves set in place. All parts werepressed as it was being assembled. Once theouter shell and the lining/facing pieces werecomplete the two were assembled using thebagged method. Understitching was applied atthe neck and center front before the bottom hemwas sewn. The entire jacket was turned outthrough an opening in the sleeve lining. Finaltrimming and grading was completed before thesleeve opening was closed. Topstitching wasadded at center front, sleeve hems, and jackethem. Finally the button holes and buttons wereset for a completed garment.

Techniques: Double welt pockets, pocket withflap, bagged jacket, topstitching, inside corner,easing, machine button holes, hand buttons withshank, understitching, set in sleeves, and flatpattern drafting.

Materials: Wool/Mink/Cashmere fabric,Microfiber facings, Polyester lining, Thread,Interfacing, buttons, and shoulder pads.

Joyce R. Robinson

“Lady Gray”

Abstract:

Purpose: This wearable technology artworkemerged as a light-sound garment thatallows viewers to experience synesthesia(e.g., the rare ability to see hear colors andsee music). This garment pairs synchronizedcolored LED light-wave frequencies withmusical audio-wave frequencies so thatcertain musical notes light up the dress withparticular colors that correspond to the music.This garment allows non-synesthetes (i.e.,individuals without synesthesia) to experiencesynesthesia in order to more closely identifywith the individuals who normally experiencethis phenomenon.

Process: The dress’ music was created using apunch-card player. The musical sound wasthen remixed in UJAM music software andplayed through speakers connected to amini-computer (i.e., Raspberry Pi encasedwithin pockets in the belt of the dress). Thesilk-painted kimono fabric was dyed withcolors that correspond to the colored LEDlights and were then sewn together. A wet feltbelt was created as the foundation for the LEDlights and encased in clear plastic vinyl forprotection to be secured with Velcro.

Techniques: Wet felting, silk painting, LEDcoding using Microsoft Paint software, andmachine sewing techniques were allemployed to create the dress.

Materials: Wool, flexible-tape LED lights, clearvinyl, silk-painted fabric, and Raspberry Picomputer with speakers comprise the dress.

Virginia Rolling

“Atmospherics”

Abstract:

The purpose of this ensemble is to incorporate hand-painted textile art from the Shipibo ethnic communityinto contemporary fashion. The Shipibo live in thePeruvian Amazon rainforest. Incorporating traditionaltextiles into contemporary fashion can help promotethe artistry of textile artisans, and support asustainable opportunity of development based oncraftsmanship, local resources and cultural heritage.

The ensemble is inspired by the exploration of ethnicdesigns with an eclectic look, multi-strappedsilhouette. The main feature of the ensemble is thehand-painted textile of the jacket and shorts. The topand leggings have an asymmetric wrap-aroundeffect, inspired by the anaconda embracing thebody. The anaconda is an important symbol in theAmazonian Cosmo vision.

Patternmaking as well as draping techniques wereused. A prototype was created to check fit onmodel’s body. The hand-painted textile was carefullycut to display better the fabric design.

The top and leggings are made from a black doubleknit fabric (65% rayon, 30% nylon, 5% spandex). Thejacket and shorts are made from a hand-paintedShipibo textile. The textile was painted on a cottonfabric using a golden vegetal ink. Then, the fabric iscovered with gray clay and let dry out in the sun. Thefabric was washed, and golden trace became blackbecause of the chemical reaction with iron oxide. Theblack fabric that complements the traditional textile is100% cotton twill weave.

Shipibo art is inspired by the skin of Ronin, the cosmicanaconda creator of the world. These designs have apositive and negative pattern that expands infinitelybeyond the surface it covers. They represent abalanced duality of the world and a window to theinfinite and eternal. Shipibo designs show the deepunderstanding this community have about life andnature, that everything is interrelated.

“Ronin, the cosmic Anaconda”

Astrid Vidalon &Andrea Eklund

Abstract:

PurposeThe star quilt represents honor and generosityin the Lakota (Plains Indian) culture. TheMorning Star inspires the star pattern, which isthe last and brightest star in the easternhorizon seen before dawn. Lakota traditionsbelieve the Morning Star represents the wayspirits came to earth and served as a linkbetween the living and dead.

One of the most valued gifts in the Lakotaculture, star quilts are used as banners inschools for graduations, placed on top ofsweat lodges, used to mark momentous lifeevents such as weddings and births, and tohonor the passing of a loved one.

ProcessThe pattern is made of small diamonds piecedtogether in eight sections. The sections arethen joined together to create an eight-pointstar. The arrangement of colors can draw youreye to the center of the design or to the outtips of the star points.

TechniqueThe technique of strip piecing was used tocreate the diamond shapes. Fabric was cutinto three and a half inch wide strips. The stripswere then sewn together in staggered rows.Sections were cut into pieces at a 45-degreeangle and assembled into the diamondshape. Sets of diamond shapers where joinedto create the star. The project was machinequilted using a stippling technique on theboarders and straight stitch radiating from thecenter.

MaterialsOne-hundred percent cotton was used for thetop, backing and binding fabrics. Cottonbatting was used between the top and bottomlayers.

Lorna Wounded Head

“Emerald Star”

Abstract:

Emphasis on sustainability issues will continue to be asignificant factor in the fashion industry. I have observedfabric waste in the fashion classroom caused by negativespaces between heavily contoured patterns, poor markerlayout, or purchasing a larger amount of fabric to be'safe.' Therefore, the purpose of this project is to create asustainable garment through syndicating zero-wastedesign and natural dyes. The concept of zero-wastedesign can be as easy as an ancient Roman toga.However, in modern society, a piece of fabric wrappedaround may be perceived more costume-like, thanfashionable. Thus, the primary objective was todemonstrate a contoured dress by utilizing tuck-dartswithout cutting out patterns.

The fabric utilized was a piece of white linen fabric housedin our program donation collection for more than twoyears. This fabric was rejected by students for itsplainness. It was a 100% linen, 58-inch wide andapproximately 1½ yard long. Indigo dye was used tocreate an ombré effect. The fabric was accordion foldedlengthwise into approximately 3-inch segments and tied.The fabric was emerged six times into the prepared indigovat, to the premeasured lengths to create gradation.

For zero-waste, the number of pleats and dimensions wascalculated to utilize the whole width of the fabric. Initialcalculation resulted in 46 pleats that are uneven for frontand back bodice due to the measurement differencesbetween bust and waist. All the pleats were sewn down tothe waistline after countering bust area through the fitting.The final design successfully displays the contouredbasque look with nearly no waste of fabric.This dress will be used in design courses to document thepractice of zero-waste problem-solving and shibori designthus enhancing teaching methods.

Techniques. Shibori dyeing, flat pattern, draping

Materials. 100% Linen, Indigo dye

Eunyoung Yang

“Cascade”

Abstract:

The purpose of this project is to synchronize the cultural design components throughconstruction techniques and highlight the sustainable practice of using natural dye tocreate a modern look. Slow fashion is socially responsible fashion design practices thatseek to improve environmental and human welfare, thus overlapping with my interestin reducing resource consumption and waste. Therefore, this project explores the use offamily heirloom, traditional textiles. The textiles used were two small rolls of hemp madeby my great-aunts about 80 years ago as the most female members of a rural familywho practiced domestic weaving. About 16-inch wide hemp are with imperfections inthe thickness of each yarn or regularity in weaving. The fabric also was deterioratedwith aging and damaged by insects over the years. As I retrieved useable pieces,jogakbo, Korean traditional patchwork technique was the rational choice to give life tothese priceless fabrics.

In a quest to stay with the sustainability focus without using harsh chemicals, indigo wasused to dye the hemp. Since indigo was known for its antibacterial and insect repellenteffects, use of indigo aided the preservation of the old fabric. Hemp pieces were dyedin different shades of blue. The top was draped on modified prince panels to createtwelve panels to achieve ombré effect through jogakbo pieces. A hoop foundationwas created to add volume to simulate the shape of the paper lantern. The skirt was flatpatterned using the dimensions of the hoop foundation.

This ensemble is a unique interpretation of jogakbo and the sustainable practice ofnatural dye. The dress creates rhythmic characteristics with the structural patchwork increating 3-D lantern shape, contributing to the expression of a sense of emphasis,harmony, and unity.

Techniques. Dyeing, flat-felled seams, binding, flat pattern, draping

Materials. 100% hemp, indigo dye

Eunyoung Yang

“Indigo Lantern”

Abstract:

Designers continually stimulate their creativity bysearching for new inspiration sources. This project wasinspired by Sokgot, traditional undergarments for KoreanHanbok. Korean women wore up to eight underwear thatconsists of a double of underpants and underskirts, anddouble Jeogori (blouse). The purpose of this project wasto demonstrate the visual connection between thebeauty of simple lines of Korean dress with the beauty ofbodyline using semi see-through fabric while practicingsustainable dyeing technique. The ensemble consists ofa layered petticoat, underskirt, overlay wrap skirt, andtop with midriff panel.

The design process included carefully controlled indigovat dye. In order to achieve the ombré effect withoutsplashing dyes on the negative space on the fabric,prefinished cotton panels were rolled and wrapped withplastic wrap exposing only the ends to dip into the vat.Since the design was to have a very restrained stain atthe end of each panel, the flower from the indigo vathad to be removed completely which was not an easytask. Twenty panels were prepared and dipped in thevat. However, the arrangement of panels exposed thewhite underskirt at the hem, reducing the ombré effect.Therefore, the underskirt was stained in the same mannerto complete the effect. A midriff was created withtraditional Korean patchwork jogakbo techniques. All ofthe jogakbo pieces were connected with flat-felledseams to emphasize lines. A single layer constructionreveals the subtle flesh tone.

The final design effectively displays a uniqueinterpretation of traditional Korean undergarments,jogakbo technique, and the sustainable practice ofnatural dye. The visual emphasis was created throughline, shape, and color with the skirt panels on the skirtcreating rhythm and harmony.

Techniques. Dyeing, Flat-Felled Seam, Flat Pattern,Draping

Materials. 100% Cotton Swiss Batiste, Indigo Dye

Eunyoung Yang

“Tiers of Brushstrokes”

Apparel, Textiles and Design Community 2019 Design Showcase and Exhibition Catalog

The Apparel, Textiles, and Design community (ATD) is a group of teachers,scholars, professionals, enthusiast and students that share an interest inapparel and decorative arts. Each year at the national conference, the ATDpresents a juried showcase of apparel and decorative arts. We are a small,“boutique”, juried showcase known for quality and creativity. Every entry ispreviewed to ensure it meets our high standards. Entries are then scored byan independent jury of professional designers, fashion scholars, and designopinion leaders.

We hope you enjoy the 2019 ATD showcase and exhibition.

Best,

Farrell Doss, Community Leader & Showcase and Exhibition Coordinator.