Geometrie jako princip v oděvu - kolekce oděvů
Title Alternative:Geometry as a principle in fashion
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Date
2011
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Technická Univerzita v Liberci
Abstract
Základem celé oděvní kolekce je čistý geometrický tvar, konkrétně čtverec, a hra s jeho polohami ve 2D i 3D. Důležitou inspirací byly principy funkcionalismu, konstruktivismu a Bauhausu a, v návaznosti na tyto, architektura 60. let. Koncepce je založena na principu ohybů, překladů a řasení. V každém z použitých materiálů se projevuje jinak, ale dohromady tvoří celek vzájemně kombinovatelných částí. Hlavním záměrem bylo zachovat čistotu tvarů, které vznikaly v rámci modelace plošného čtverce, proto je kolekce barevně držena v neutrálních šedivých odstínech s barevným akcentem temně růžové. Z práce se čtvercem v ploše vznikly motivy pro digitální sublimační tisk, který graficky zvýrazňuje výchozí téma a objevuje se na některých částech kolekce. Tyto kompozice vycházejí z fotografií 3D objektů ze stavebního pletiva, které hraje roli čistého technického prvku a zároveň se pomocí počítačového zpracování dostává do geometrické abstrakce a opět tak navazuje na 60. léta. Pletivo v opracované formě se pak v kolekci objevuje i jako šperk s částečně funkčním užitím. Experimentování se čtvercem, jeho převádění z plochy do prostoru a z prostoru zpátky do plochy, dalo vzniknout sošným architektonickým modelům od sportovnějších na běžné denní nošení přes elegantní oděv až k velké večerní.
The entire fashion collection is based on a pure geometric shape, namely on the square, and it plays with its different positions in both two and three-dimentional space. An important inspiration for the collection were the principles of functionalism, constructivism and the Bauhaus and, in continuity with this, the architecture of the sixties. The concept of the collection is based on the principles of bending, folding, and creasing.In each of the utilised materials these principles are manifested differently, but together they form a whole, consisting of mutually combinable components.The main aim was to preserve the purity of the forms and shapes originated in experiments with the modelling of a square sheet. For this reason, the colour of the collection is kept in neutral shades of gray with an accent in dark pink.The creative process of working with the square in a two-dimensional space gave a base for the motifs displayed on the digital Dye-sublimation prints, which appear in some parts of the collection and constitute a graphic reference to the original theme. These motifs are based on photographs of tri-dimensional objects modelled out of construction fencing material, which plays the role of a pure technical element, and at the same time - through a process of computer graphic manipulation - is transformed into geometric abstraction, which represents a further reference to the art of the sixties.The construction fencing in its processed form then appears in the collection in the form of jewelry. The experiments with the square, and the process of trasferring it from a plane to a spacial representation and back, gave rise to imposal architectural models, the use of which ranges from sporty everyday wear to elegant apparel and fully accessorised evening gowns.
The entire fashion collection is based on a pure geometric shape, namely on the square, and it plays with its different positions in both two and three-dimentional space. An important inspiration for the collection were the principles of functionalism, constructivism and the Bauhaus and, in continuity with this, the architecture of the sixties. The concept of the collection is based on the principles of bending, folding, and creasing.In each of the utilised materials these principles are manifested differently, but together they form a whole, consisting of mutually combinable components.The main aim was to preserve the purity of the forms and shapes originated in experiments with the modelling of a square sheet. For this reason, the colour of the collection is kept in neutral shades of gray with an accent in dark pink.The creative process of working with the square in a two-dimensional space gave a base for the motifs displayed on the digital Dye-sublimation prints, which appear in some parts of the collection and constitute a graphic reference to the original theme. These motifs are based on photographs of tri-dimensional objects modelled out of construction fencing material, which plays the role of a pure technical element, and at the same time - through a process of computer graphic manipulation - is transformed into geometric abstraction, which represents a further reference to the art of the sixties.The construction fencing in its processed form then appears in the collection in the form of jewelry. The experiments with the square, and the process of trasferring it from a plane to a spacial representation and back, gave rise to imposal architectural models, the use of which ranges from sporty everyday wear to elegant apparel and fully accessorised evening gowns.
Description
katedra: KDE; přílohy: CD; rozsah: 77
Subject(s)
čtverec, geometrie, architektura, funcionalismus, 60. léta, square, geometry, architecture, functionalism, sixties