Copper coated steel rod bodice.
- Bent using mix of formers and hand bending (mostly the latter as I found the rod quite malleable if bent swiftly in tiny sections at a time).
- Cut using a hand guillotine
- Welded using spot welder
Measurements were very important in order to be able to weld at correct angles- especially around the chest plate area where ability to reach the desired sections highly obstructed by the rest of the bodice. This is what I did not like about the spot welder. Its design is very restrictive in size and structure as, especially if you are creating a 3D structure, it can be difficult to manoeuvre the piece in order to accurately weld the rods. I also noticed other's running into this same issue with their other materials. Not only this, but you can only weld two objects by placing them on top of one another which leaves a lot of untidy edges that can be difficult to get rid of- as you can see quite clearly on the top corners of the chest plates.
Unfortunately I was unable to complete this project to the full lengths I wished to take it, but the INITIAL THOUGHT PROCESS behind this simple copper rod bodice was to create a delicately structured upper garment piece which may be used like as a corset type under-garment which first became popular in the 16th century Europe, but reaching its peak in popularity in the Victorian era. Although, there is a twist of inspiration in the use of the rods from the hoop skirts which arose in fashion around the mid 1850s. However, the societal message that came from the use of these garments are not something which I believe in (for women to have to risk their health, or simply go to such great lengths, in order to adjust their bodies to what was deemed most desirable). So, this is where my mind started to wander into the idea of thinking of it maybe as the beginning of strong, yet still fashionable, piece of female upper body armour. The theme of strength is already easily delved into with the use of metal rods as the base structure and it is something I would love to build off of- maybe adding tin to the base structure for where the negative space is. Better yet, to either create two pieces- one of the delicate corset under garment and the other of a strong, empowering piece of armour; or to blend this into one piece which reflects both in order to stand against these stiff standards of women- an effective, sturdy upper armour piece with beautiful, feminine fine details added perhaps with dainty wire or intricately woven stranded cotton or adhered pieces of detailed, cotton woven tapestry to depict how beauty or femininity is not mutually exclusive to strength or power- in essence to try to reclaim this once restrictive, oppressive garment.
But bear in mind this this is my STRETCH TARGET/CONCEPT for this piece if I had all the time and resources available.
Above on the right side is a piece from Dolce and Gabbana's Spring 2013 collection, here they used weaved baskets which almost appear as an adaptation of the soft armour, cage-like garment- hoop-skirts. Whether this was their intention or not, the clear resemblance is there and the intricate beauty is what I was drawn to. They also explored bodices and skirts alone with equal beauty to this look, forming multiple, differing and equally detailed woven pieces.
Link to view more of these pieces from the collection: https://www.elle.com/runway/spring-2013-rtw/g16543/dolce-and-gabbana-spring-2013-rtw-detail/?slide=1
or if you scroll to look 82 you can view full basket part of the collection: https://www.vogue.com/fashion-shows/spring-2013-ready-to-wear/dolce-gabbana#review
Below displays Vivienne Westwood's 'reclaimant' of the hoop-skirts (aka crinoline) in her groundbreaking 'Mini Crini' from the S/S 1985 collection for the Anglomania line which aimed to represent unity in our opposition. Vivienne Westwood is one of the most iconic designers in fashion history. Nonconformist, eccentric, brilliant, talented, she has always followed her own instinct.
Link to her Anglomania collection page: https://www.viviennewestwood.com/en/collections/anglomania/anglomania-campaign-aw1819/
Link to a short slide about her exploration of the mini-crini: https://www.refinery29.com/en-us/vivienne-westwood-iconic-designs#slide-4
Nonetheless initially my REALISTIC PLAN, if given more time, was to more simply have used thin steel wire to create finer details on the bodice, similar to that in the images above and focused on creating a more interesting/complex structure for the straps, as well as, the negative space left in the chest plates. Furthermore, I would have welded a piece of rod to the edges of the curved rods at the back, to more clearly form the cuff-like look I was aiming for. This is due to the fact that, although it is a little rough around the edges, the concept was for the bodice to be functional and wearable; with it's current state, the edges of the wire leave it somewhat hazardous to get on and off as they are a little sharp so can easily catch or rip clothes or skin.
However, exploring a completely different concept, there is a certain rib-like characteristic that it mimics which I enjoy and think could be interesting to explore in the future- maybe a bodice which mirrors our internal anatomy (resembling the ribs, maybe use thin steel wire or other easily manipulated materials to form organs on the surface of the rod structure, or maybe even as hanging pieces within).