Beyond Chrysalis - Emergence
Year: 2018
Event: World of WearableArt Avant Garde Section - unselected
Inspiration:
Beyond Chrysalis was my first entry in the World of WearableArt in 2008, and began with a desire to capture the moment of emergence of fragile beauty from the functional chrysalis. Rather than a bright and colourful butterfly, I chose to imagine the darker, nocturnal beauty of the moth. A decade later, I have revisited the concept, and used the same skeletal wing sketch as a starting point, along with many of the same methods and materials, but with 10 more years of experience and new creative skills, and a design to test them!
Materials & Techniques:
Organza, gel medium, mica paint, sequins, feathers, leather, acrylic paint, free-motion embroidery
More Information:
This piece really marked the changes to my skills and repertoire over the ten years since the last version of Beyond Chrysalis. I had acquired skills in making wire armatures, therefore my headpiece was firm and structured. I was able to problem solve design issues through patternmaking skills - I resolved the challenge of making the pattern for the segmented skirt (meant to represent an insect body) using a third-scale mannequin, and once again the pattern from my 2014 TAFE Studio project provided the base for the dress. Knowledge of tambour embroidery technique from a class with Karen Torrisi helped me with beading and sequin application. Design components that needed structure could now not only be created with wire, but with moulded leather.
Below is a presentation I created about the process of designing and constructing Beyond Chrysalis - Emergence.
Bonus Information:
I was very disappointed when this was not selected for WOW, particularly as I considered it to be technically, the best garment I had ever made. It was shown at a TAFE Fashion Graduation show, at which I was giving a speech as an Alumni student, and has received extensive publication in magazines.
Bonus Information:
For the second time in my history with the show, WOW contacted me to alter my garment – I had entered it in the Avant Garde section and they wanted to place it into the Under the Microscope section. I agreed to this under the proviso that I had the opportunity to adjust the design to reflect the section theme a little more – I added leggings and long sleeves to cover the skin, and added a section to the headdress to make it more insect-like. Unfortunately, this caused some vision issues for the model, who had to wear it tilted up - though the plastic was clear and covered with only a thin layer of fabric, the stage lighting made it blinding.
Above is a presentation I created about the process of designing and constructing Coccinelle.