Some believe fashion is based in a binary code of 'in' and 'out'. As you may have noticed, Im all about the complexity of dualisms. However I only find notions 'in' and 'out' useful when applied to structure of form, not of validation. I want the garments to be experienced with an amount of phenomenal interpretation, this possible spectrum of singleness and separateness in the look of wearing being interesting in translating into an overall communication. I want the garments to have a type interpretation. I read this and perhaps recognised this idea,
"If we took all these participations into account, we would recognise that... in general a visible, in not a chunk of absolutely hard, indivisible being, offered all naked to a vision which could be only total or null, but is rather a sort of straits between exterior horizons and interior horizons ever gaping open, something that comes to touch lightly and marks diverse regions of the ... visible world resound at distances, a certain differentiation, an ephemeral modulation of this world..." (Merleau Ponty, M. 1968)
I've been really troubled with how on earth to generate a pattern from everything researched. I don't think this coming exercsie was particualrily useful, maybe, maybe not. I undertook grading a basic bloc disproportionaley. The amounts of grading I placed at each cardinal point was complete chance, with no reference to anything. I recorded the rules in a table below:
I think recording like this may be helpful in dissemination later? Or maybe it's a way of people recording how they wear or how they experience their interpretation of a garment?
I also started thinking more about drape in flux. How do you order flux. I've been trying to think of other objects or things that are in flux? What the Flux? Maybe if I understand their form, I can better understand how to apply this to drape? Also after presenting last week, during the afternoon workshop, Pia suggested I interpret the one sided aspect of a fold in terms of a "filament." These two ideas made me think of hair (this does not mean I will use hair literally in my clothes in ANY way.) Hair is a bunch of filaments in flux. How do you order hair? With bobby pins? Hair pinned up to reveal the neck. Of course the Chiton and Peplos were held together (and perhaps interpreted) with fastenings - much like a bobby pin in a way. So I applied this idea to the graded block, its probably still a bit choppy and literal:
Curtain by dutch interior designer Nicolette Brunklaus
Above - Artemis of Galbi, 4th Century B.C. - fastening Chiton