[INBOUND] Exploration of western and Japanese tailoring.
This project explores the intersection of western and Japanese tailoring and the significant difference in the notions of how in each notion, the garment shapes the body and gives it a new silhouette. Japanese tailoring of traditional clothing, does not consider different body volumes, such as bust or waist measurements, but focuses solely on the hip, which, in the case of women, is typically the largest volumetric measurement. This is because the notion of the garment is flat and only becomes volumetric once it is worn. On the other hand, modern pattern making inherited from western notions of garment construction, takes into account different volumes of the body and often creates a flat surface that transforms into a volumetric shape. This process requires the use of darts and curves, resulting in more cuts and assembling of separated pieces.
Due to the zero waste characteristics of Japanese traditional clothing such as kimono, the project aims to mix this tailoring techniques to make a tailored suit out of a kimono fabric 反物 without wasting any fabric.
It was hand-sewing using the same type of stitching used for yukata and kimono. Due to the different widths of the fabric and pattern measures, instead of cutting off the excess fabric, it was carefully sewn inside with invisible stitches preventing waste, allowing for fabric reuse and/or resizing the garment.
CIANOTYPES:
Fabric Manipulation Inspired by Sashiko.
Zero waste has characterised by a non-fitting silhouette. This, due to the waste generated by cutting curves and relying on darts. This project aims to make a fitted dress without wasting material.
The fabric was woven in collaboration with the Bunka Research Lab for Fashion Textiles, featuring two different woven patterns, B and a looser one, A. The width corresponds to the fabric size commonly used for making Japanese clothing, such as kimonos, hakamas, etc.
Made out of hemp, the fabric width had 42.5cm, and a total length of 4 meters. Considering the inherent stiffness of hemp fibre, I chose this woven pattern to make the textile softer and easier to unweave.
The darts volume was unweave and stitch the threads back into the fabric itself. This choice of woven pattern was made to achieve this unique effect. The blue color is the result of cyanotype sun-print which marks the unwoven parts of the pattern.
The stitching on the fabric is derived from a technique known as Sashiko, traditionally employed to reinforce loose weaves and mend farmer’s clothes made out of hemp. This stitching method involved sewing together layers of fabric to enhance their resilience against harsh and prolonged winters, resulting in what is commonly known as “boro.” As the technique evolved, the stitches began to follow patterned designs. While Sashiko is no longer primarily used for mending, it endures as a decorative element in textiles, preserving this traditional craft.
The Zero Waste Project showcases a collection of explorations focused on minimizing material waste during garment creation. These studies encompass experimentation in pattern-making, whole garment knitting, material-centric experimentation, among others.