N A T A S H A F A G G

3D Rapid Prototype

I was introduced to 3D rapid prototyping at the start of 2011 through the initiatory elective ‘digital fashion’. This course, offered through RMIT, introduced me to the 3D modelling program Rhino.

I developed the necessary skills to design upon an avatar of a size 8 model which I 3D scanned, granting me the ability to produce stand alone pieces as well as items customised to the body. The

terra-flat function of the program has also enabled me to design garments digitally upon the avatar and unfold these garments to

create flat patterns.

I was approached by Amelia Agosta in regards to producing two supporting items for her graduating collection. Piece one was

designed by Amelia and took the form of two neck pieces which wrapped around the shoulders, attaching to the garment. After this piece was successfully printed Amelia invited me to use my knowledge of the program to design the second piece. With the

knowledge of her collection I wanted to design a visually striking piece which would deliver a bold statement. Amelia was happy

with my design and through consultation I was able to produce the file using my 3D avatar and Rhino knowledge.

p. anthea o’brien m. teale @ darley management mu. carrie a. edwina hollick j. alexandra blak

p. advan matthewm. mia @ darley managementmu. phill darleys. yasmin cadbyj. alexandra blak

Instinctual Beast

This body of work has been a tactile investigation, intent on exploring the materiality of heaviness and the notion of beastly fabrications. The

purpose of this investigation has been to explore non-traditional materials and processes for taming these materials in order for them to

relate to the body. The platform of lingerie has been chosen to demonstrate these acquired processes due to its natural affiliation with

light fabrications, producing a collection which challenges the notion of conventional material usage.

Plastic, leather, latex, metal, hair, silk, cotton and fringing have been combined and an aesthetic of synchronized contrast has been formed,

creating conversation between the fabric and non-fabric materials. The function of combining these materials has produced patternmaking

techniques, enhancing the distinct characteristics of the fabrications.

A highly considered approach has been taken with reference to the lingerie pattern construction. Extending upon my existing knowledge

base I was able to develop new ways of creating the necessary cradle structure through an instinctual response to the leather. Traditional and

prescribed techniques were ignored within the construction of these garments, allowing me to respond free of presumption. This method of

exploration has in turn tamed my manner of production; the process has developed from a simple construction system to that which requires a

crafted hand.

Vacuum forming has been investigated as a method of taming rigid and noncompliant plastics. The plastic is heated to a malleable state and then

sucked over a mould, once cooled the result is a hard shell formed over the desired shape. The process of creating these forms has also exposed

me to the highly involved method of mould casting and I have learnt techniques for working with wood, plasticine, clay, and plaster.

These casting techniques have also allowed me to explore the notion of captured motion. Fascinated by the interaction between the body and a two way pleated fabric I wanted to capture the moment of expansion, the intriguing conversation between these two elements. This process involved casting this expanded moment in plaster to form a mould and then creating this structure using liquid latex. Presented alongside one another these garments demonstrate vastly different interactions be-tween body and fabrication, stemming from the same form.

Representing and exploring the taboo of hair has become an apparent theme throughout this study due to its connotation to a beastly human facet. Society frames ‘unwanted’ hair in a negative fashion and I have sought to represent this in a lighthearted, comical manner. Hair, or its representation spills from behind an encasing of plastic, positioned exclusively in inappropriate places. The hair is also used as a surface texture, displayed beneath a plastic exterior to remove the sensation of touch.

Leather has been embellished in the repetitive use of heavy fastenings, creating harnesses and garments which isolate the bodies function, in-vestigating the manipulation of the human form and the consequential ramifications upon mobility.

Through a muted colour palette the beastly nature of the heavy fabrica-tions has been visually subdued, reflecting a taming process which does not rely upon the hand to be effective.

Through process exploration I have been able to produce a reciprocal relationship between myself and the fabrication. I have tamed the beast and the beast has tamed me.

p. tiffany chinm. amy s @ scened. natasha faggmu. kat bardsleyh. maria gullace @ rakisa. alyssia tedeschia. naomi fagg

Topographic Exuberance

The initiation of this interrogation developed through the reading; ‘White walls, design-er dresses : the fashioning of modern architecture’ whereby Wigley (2001) suggests that structure is but the scaffolding for which decoration disguises. This theory provoked me to question the relationship of structure and decoration. Could these two elements become interchangeable? Could the decoration provide the structure?

The decorated surface progresses through a transition into a surface of ornament through the function of form manipulation. An accessory to the body, the ornament acts as a vehicle for manipulating and dictating both static and malleable form. This progression is realized through the acknowledgement of variance between the descrip-tions of decoration and ornament.

To investigate the determined subject matter a series of surface investigations were conducted. Specific definition has been assigned to a series of words; these words deter-mine the parameters of constraint at which all experimentation must abide. Grotesque, picturesque, carnivalesque and sublime.

The word grotesque has been defined as the turning of the inside out. A discussion upon the relationship the inside has to the outside, with particular reference to the human body. This stimuli has been used as a visual reference for all exploration, mimicking and referencing naturally occurring formations and structures beneath the skin’s surface, with prominence placed upon the musculoskeletal system. The musculoskeletal system is an organ system that gives animals (including humans) the ability to move. The sys-tem provides form, support, stability and movement to the body. The system consists of the skeleton, muscles, cartilage, tendons, ligaments, joints and connective tissue that supports and binds tissues and organs together. This reference has been used to instruct the aesthetic of the ornament and instigate the formation and positioning of design lines.

p. tiffany chin m. jade matthews d. natasha fagg

Culture MagazineTwo garments from my Topographic Exuberance collection were selected by Kirsty McBeth for an editorial shoot featured in the August/Spetembe 2011, Culture magazine.

p. amber tomsa. amanda fordyce & karla majnarich. brett albury & julia mcgrath @ suki haidress-ingmu. sue marshalls. kirsty mcbetha. daniella soracem. jane smith @ viviens & paris @ camerons

Melbourne International Flower and Garden Show

This body of work has been an investigation into the grotesque manipulation of the hu-man form and its’ surface. Interpreting the avenue of grotesque as a mode of transition from what is classically conventional to that of a morphed recognition. The figure has been transformed, yet remains familiar. Juxtaposed to this form is a composition of sublime exuberance, a picturesque palette of vibrancy. Vegetation has been considered based upon surface texture, colour and stature, ignoring preconceived concepts of tradi-tionally considered picturesque flora.

1st PlaceRMIT Student FloralFashion Design Competition

An exploration of traditional technique and the boundaries which have been imposed upon the term tailoring as a repercussion of such tradition.

What constitutes a tailored jacket? Technically, does it refer to specific ele-ments which are considered vital to the integrity of the jacket? The collar and lapel, break point, shoulder pads, internal structures, set in sleeve, lining, jett and welt pockets. If these elements determine the jacket, at what point does their removal impact the jackets classification of being a tailored garment? Perhaps the classification of a tailored garment can be found within the craft of the manufacturing processes or possibly this refers to an overall aesthetic achieved?

My body of work has been intent on exploring the possibilities of these tradi-tional techniques, rather than composing definitive answers to these subjective questions.

A series of controlled experiments were conducted, using the process of par-ticular construction techniques as a constant and allowing their context to be the explored variable. The result of these experiments proved to be an inter-esting springboard for design initiation and I discovered that this technically tactile process of exploration resinates well with my design process. I found that I could take the product of these experiments and explore ways in which they could be reworked into garment form though draping. A corresponding aesthetic began to emerge from the experiments, one of contrast and juxtaposi-tion. This has formed the basis for my collection;

An exploration of various compositions involving structure and drape. Inspiration is derived from traditional tailoring

construction processes and interrogates the appropriateness of varying fabric weights and textures when combined.

De-Reconstruction

In anatomy, phalanx bones (phalanges) are those that form the fingers and toes. Identifiable to touch, the name phalanges represents a sensual-ity synonymous waith lingerie. The collection is an interpretation of the manner in which bones and muscles interact to create functionality and movement within the human body. Bone has been translated literally thrvough jewellery and pro-vides comment upon the high level at which con-sumerism has forced fashion to become disposa-ble. The jewellery is hand made from the recycling of discarded animal bones, which are cleaned and bleached. Muscle has been interpreted through organic design lines. Sheer transparent fabrics are layered to depict the varying components of the body and their vitality to form function. When these elements are placed together the observer is able to capture the holistic vision of phalanges.

Psyche of Phalanges

p. tiffany chin m. leah johnsen @ scene d. natasha fagg mu. kat bardsley