CRAFT and RACISM
Won "Award for Creative and Innovative Interpretation of Innovation Sources" at International Textile and Apparel Association exhibition.
Design was featured in the International Textile and Apparel Association juried exhibition in 2014. The exhibition had a 43% acceptance rate.
In 2012, according to the FBI's hate crime statistics report, race was the number one motivation for hate-related crimes in the US> I created this piece to bring awareness to the racial inequalities that are present in our society by creating a visual display on the body of fabrics that appears to somewhat clash, yet upon close examination have similar characteristics and work together to create a cohesive look.
I used traditional fabrics from around the world including a hand-embroidered and dyed fabric from India and an indigo and then resist-dyed fabric from Ghana. I combined these fabrics with a European bustle silhouette on the jacket to represent the blending of cultures. The tired layers on the bottom half of the ensemble represent the multiple layers of imbalance for different so-called minorities that are present in our society.
According to a PEW Research Center study, individuals over 30 are less likely to be accepting of other races outside their own than those below age 30. This cultural divide in age inspired the use of old and new craft techniques. The orange trim on the jacket hem was hand stitch-resist dyed by the designer. Traditional Indian fabrics and colors inspired the colors and patterns of this design. The CF button closure was designed using TINKERCad and then 3D printed. The two pieces were printed over 4 magnets, which secure the closure. Each piece has 4 sew-through holes that secure them to the left and right jacket bodice pieces. The 3D printed closure represents the progress towards equality, however its small size in comparison to the hand-dyed hem represents the progress towards change that is still needed.
The silhouettes of the jacket and dress were created using flat pattern and draping techniques. The 1/8" pin tucks on the dress waistline were hand measured, pressed, and stitched. This piece of fabric was then hand appliquéd to the dress. The 3-tired back bustle is supported with steel-wire boning. The designer created and stitched the bias binding to the dress neckline and hem of the 3rd-tier ruffle.