Visual Design Development
The Design of the Dress
To produce the final design of the dress, there were many designs sketched and toile produced. These steps were take to ensure the dress meets the criteria of body type, functionality, affordability, quality and aesthetics. The following image (figure 2.1), displays the four stages taken to produce the final design. At first, the design included a high scooped neckline with no sleeves and no body shape to it. To enhance the appeal of the female figure, and to produce a similar impact of a dress which contains a corset component, the dress modified. These modifications included inserting darts on the bust, and forming more shape around the waist of the figure. This design was used to produce a toile. By producing the prototype, it was found that the waist line and the neckline were not suitable to allow the dress to fit all body types. As found in the third sketch, the design was again modified, by changing the neckline to be squared with thick straps. This allowed the dress to fit larger heads and broader shouldered females. To further address the criteria of the costume, the dress was modified to consist of gussets down both sides, under the arms. The gussets allowed the dress to fit more sized women, and women of different body figures. The gussets enhance the waist line of the women, according to their individual figures by providing more material to larger women, and being tied by rope to enhance the waist lines. The second photograph (figure 2.2) displays the differences in the patterns of the original toile produced, in comparison to the final pattern used to produce the dress. The obvious changes are clearly seen, for example, the change in the neckline, waist line, and as well as the added gusset and strap pieces.
To produce the final design of the dress, there were many designs sketched and toile produced. These steps were take to ensure the dress meets the criteria of body type, functionality, affordability, quality and aesthetics. The following image (figure 2.1), displays the four stages taken to produce the final design. At first, the design included a high scooped neckline with no sleeves and no body shape to it. To enhance the appeal of the female figure, and to produce a similar impact of a dress which contains a corset component, the dress modified. These modifications included inserting darts on the bust, and forming more shape around the waist of the figure. This design was used to produce a toile. By producing the prototype, it was found that the waist line and the neckline were not suitable to allow the dress to fit all body types. As found in the third sketch, the design was again modified, by changing the neckline to be squared with thick straps. This allowed the dress to fit larger heads and broader shouldered females. To further address the criteria of the costume, the dress was modified to consist of gussets down both sides, under the arms. The gussets allowed the dress to fit more sized women, and women of different body figures. The gussets enhance the waist line of the women, according to their individual figures by providing more material to larger women, and being tied by rope to enhance the waist lines. The second photograph (figure 2.2) displays the differences in the patterns of the original toile produced, in comparison to the final pattern used to produce the dress. The obvious changes are clearly seen, for example, the change in the neckline, waist line, and as well as the added gusset and strap pieces.
Fabric Selection
The chosen fabric for the final garment is calico (figure 2.3). This fabric reflects the fabric used for peasants clothing of the medieval times. The calico appears more cheap then satin or silk that the wealthy individuals attire was made of. The calico was dyed to become a cardinal-red. The original colour of the calico is found to the left of the image below, and they dyed calico is on the right. The decision to dye the fabric was due to the dress component of the peasants’ attire being a colour, rather then a white or off white like the undergarment, whilst complimenting the cape they wore in the winter seasons. Through dying the fabric, the fabric became more stiff, which became a positive impact as the fabric in medieval times was more stiff then soft, especially for peasants.
The chosen fabric for the final garment is calico (figure 2.3). This fabric reflects the fabric used for peasants clothing of the medieval times. The calico appears more cheap then satin or silk that the wealthy individuals attire was made of. The calico was dyed to become a cardinal-red. The original colour of the calico is found to the left of the image below, and they dyed calico is on the right. The decision to dye the fabric was due to the dress component of the peasants’ attire being a colour, rather then a white or off white like the undergarment, whilst complimenting the cape they wore in the winter seasons. Through dying the fabric, the fabric became more stiff, which became a positive impact as the fabric in medieval times was more stiff then soft, especially for peasants.
The Final Garment