I have taken some pictures of eyes when the subject is smiling or frowning I then cut out the rest of the face so it was just the eyes left to relay the feeling. To me it is interesting to see that you can still see the expression while just looking at the eyes. But can you change the expression or the feeling of it with colour? I toke the smiling eyes drawing them in both blue and yellow I then did the same with the frowning ones. This experiment is dependent on how you feel about colour. Lets assume that for most people blue is sad and yellow is happy. That being the case the smiling eyes definatly looked sadder in blue then yellow maybe even more sad then the frowning ones in yellow.

I figure the best place to start my search into identity is to collect visuals that are significant to identity. I have decided to center in on the eyes and the figure prints. I chose these aspects because the are used by technology to identify people. I did an experiment to see how trusting my peers were at giving me their thumb prints. Much to my surprise thew people asked for an explanation and even fewer refused. To me this is very interesting because it means that people don’t value their finger prints, even tho they are completely unique to you. Does this mean that we don’t value our identity or that our finger prints, tho unique, don’t matter so much to us.

Who am I and what makes me, me? Where is our identity? Can our Identity be altered or affected my our emotional well being? Not only do I wish to answer these questions but I want to make the viewer of my work ask themselves the same questions, starting with who am I?

Semiotics is the language of signs and how different colours and materials can mean different things.

For example, this outfit is very formal except for the trainers. The trainers are a marketing ploy to appeal to everyone. By pairing the trainers, a very everyday item of clothing, with the formal outfit, it gives the potential buyer the idea that this could be worn every day, anywhere. As much as my own fashion sense rebels at seeing this pairing I can appreciate how clever it is.

Chanel – dove grey, feathered petal skirt, velvet long sleeved tunic with matching shoes. This outfit reminds me of the snow queen. It uses soft fabrics but portrays a hard character underneath.

Valentino – orange, OMG orange, sophisticated. Romantic print shows a love for love.

Valentino – karki green, cape, printed space scene on hem, really bad shoes. Reminds me of wizards robes from harry potter.

Fendi – beige and white, oversized bowtie, highlighted pockets, white boots. An outfit fit for the white rabbit.

Elie Saab – heavy dark brown into a rich ochre, chiffon makes it look like the dress is made of sand. Should be worn by a pharaoh.

Thom Browne – stark black and white, three quarter length turned up trousers, shortened jacket sleeves so that you can see the layered shirt cuffs.

Miu Miu – black, half length baggy velvet trousers, layered sweaters, strappy shoes.

Alexander McQueen – red, felt or heavy cotton, contrast splitting down the middle both horizontal and vertical, simple yet striking.

I pinned the start of one of my bigger spirals to the front seam on my shorts. Then started to wrap it round the leg of my model pinning it to itself were necessary in  the hopes that it would hold its shape, it didn’t. I needed something that would stiffen my spirals so that they held there shape without having to be sewn to a supporting garment. after specking to my tutors, they suggested that I use this mesh like fabric that can be ironed on and stiffens the original piece of fabric it is ironed to. once I had finished ironing and sewing it locked like there were rivers of bloody bandages starting at my models neck and vagina forming the river like shapes I had hoped for as they flowed down my model.

I machine died my top and bottom block garments with a red dylon dye. To make the ruffles look like splotched bloody rag i sprayed my fabric with red ink and then cut it into one giant spiral. One thing i forgot to do was sew the edge seams on my base garments. this meant that as soon as they came out of the machine the edges were frayed like they had been warn for decades. After my initial I decided to just go with this ragged effect and hope for the best.

To start my trouser design I used a basic block pattern and then sized it down with darts on my model. It turns out fitting exactly to a person is a  lot harder then I thought . The only place the shorts fit her perfectly was across the widest part of her hips. I had to massively shape the sides to the spoon shape of her hips. then I needed to add an inch to the front seem as well as taking out a massive triangle from the back seam and that was just to get the base pattern right. The top pattern was a lot easier as her top half was pretty much a generic size eight, much to my relief.

I already had an idea for a bottom half of my garment design but I needed a top. I started this process with an old shirt putting it on backwards and inside out to see how I could reform it.

This design idea I feel conveys the fluid energy I want the tail on the back of the shirt looking like a droplet mirroring the rivulets i’m going to have flowing over the legs. This design differs as it doesn’t have sleeves or a tail. It has  a more formal feel which i’m not sure fits with my bottom half design. I like the way it appears to flow off the shoulders. However after this process I feel the top half should mirror the bottom half a lot more than either of these two designs do.