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After dissolving my aqua film, I left my embroidery to dry flat and then pinned them onto the dress, I adjusted these until I was happy with the shape. I then began hand-stitching the embroidery onto the base dress. Whilst hand stitching, I left around 1-3 inches of thread hanging from each point. This technique, inspired by Ruth Norbury, created more of a rough texture on my embroidery. I was very pleased with this and felt that it was visually successful on my design.

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Throughout this module, I have explored femininity within the horror genre and visually communicated this in my sketchbook. I have taken much inspiration from the animalistic and gore aspects of horror. Talons, claws, bats and spiders have been a key visual reference for my work in this module. I have constructed a sleek, black dress, with sheer black fabric draped around the breast, waist and falling off the hip. I wanted a classic silhouette that I could incorporate my textiles work into.

I am very pleased with the result of my final garment, The texture of the red embroidery mixed with the simple, sleek silhouette and shape of the base dress combines the classic femininity with the gore and horror aspect of the genre.

In my initial design, I had planned to construct a cape to go over the shoulders of my model. As I began to develop my final garment, I found that the cape was not relevant to my narrative and gave the outfit a different shape and design than I would have wanted. As well as this, I decided to not make the cape as It would give me more time to focus on ensuring the quality of my appliqué and base dress.

I feel that my final garment is also cohesive and relevant to my sketchbook work this module. I have explored many different samples inspired by horror in textiles. Focusing on horror-inspired shapes and colours, I was able to develop my samples into appliqué for my final garment. Resulting in a visually effecting garment which communicates the combination between femininity and darkness within the horror genre.

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Moving onto my embroidery, I pinned pattern paper over my dress to draw out the shapes that i wanted on the body. I cut these out once I was pleased with the shapes. After cutting out my pattern, I collected multiple samples of fabrics in different colours and tones that were prominent in my sketchbook. I pinned these fabrics in the areas I wanted appliqué to see which colours worked best. In the end I settled on a deep maroon red. I then got aqua film and drew around my pattern to mark the edges and embroidered a crossed web pattern into the aqua film.

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I was inspired by Ruth Norbury in my embroidery work, her work usually consists of dark imagery which has been embroidered into. Norbury uses second hand fabrics and cuts them up, stitches them back together for texture and depth, she also uses natural resources to dye her projects.

Within this piece, I enjoyed the thread being loose and hanging from the image behind it. I would like to sample this technique within my work in hopes that I could incorporate it into my final garment. I plan to sample this in a red, webbed style patch that i could stitch onto my base dress.

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For this sketchbook page, I was inspired by Raija Jokinen. This artist uses flax within her sculptures. Her sculptures usually depict torsos intertwined with veins, roots and flowers incorporated. Her work attempts to reveal the connection and relationship between the human mind and body.

I started with a sheer black fabric. embroidering the silhouette of a clawed hand into the fabric. I had used a zigzag stitch for this as i wanted a rough edge. Once embroidered, I took my samples outside and singed them with a flame, creating a rough and interesting texture along the sample. I then began to burn the inside of the hand to create further texture and add depth to my sample. I was very pleased with the outcome of my sample. I felt it related to my narrative very well and was relevant to my project.

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In my embroidery session, I embroidered a figure hugging dress onto white fabric, alongside this i embroidered a spider into the sample. I have used the figure-hugging silhouette in a few of my samples so far. The figure represents femininity and elegance-inspired by Cher and Elvira. For my final garment, I hope to incorporate a classic, elegant silhouette and combine it with components relevant to the horror genre. I have also included imagery of silhouettes from collections that have Inspired my work during this module.

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After pinning my drape to the dress, I then began hand-sewing the fabric to the base dress. I was conscious to ensure that the initial shape remained on the dress. I adjusted the drape to sit higher on the hip for a more flattering shape on the dress.

Once I had finished hand-sewing the drape, I began mapping out what shapes I wanted for the embroidered appliqué I planned in my design. I decided to use aqua film to embroider red textured patches to hand stitch onto the base dress.

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Once I had constructed my base dress from a size 12 dress pattern, I found that the length of the dress was too long and sat at an awkward length compared to my initial design. I shortened the length by two inches before hemming the bottom.

I began to drape my fabric and adjust it to how i wanted it to sit on the base. I found that the drape flows better from the right shoulder over the left breast, I changed this from the design as it suited the design better.

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Once I had began constructing my final garment, it was clear that my cape would need to be very thick and structured to hold the shape that I wanted. After finishing the pattern for my cape, i toiled the fabric and silhouette and found that corset boning along the seam alongside another layer of fabric would hold the shape that I wanted.

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Once I had designed my final garment using my sketchbook and draping samples as inspiration, I began to think about the silhouette of the drape that i wanted on the base dress. I started experimenting with different draped looks. I enjoyed this silhouette above, however I wanted the drape to come up the hip further. I may pad underneath the fabric that drapes off the hip for a more dramatic silhouette.

This drape will also leave space on the base dress for me to incorporate my embroidery samples into the design.

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Within this workshop, I was Inspired by Caitlin McCormacks work. McCormack uses a crocheted technique to build her samples, she then uses glue to strengthen her pieces and give them structure. The technique creates a similar texture to bone tissue. Her pieces usually include skeletal aspects of animals or creatures. She then embroiders these pieces into unpredictable scenes.

McCormacks work inspired me to create a sample inspired by skeletal beings and ribcages. I used a base of calico and embroidered a ribcage onto it, I then frayed the edges and stitched into the sample.

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For my final garment, I was inspired by Alexander McQueen’s 1996 collection, “The Hunger”. Within his collection, He incorporated many lace and embroidered panels appliquéd onto his garments.

In relevance to my narrative, I plan to create samples similar to this, I would like to embroider samples which would resemble blood stains or more of a webbed effect. I plan to explore this in my embroidery sessions.

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From my draping samples, I began drawing a lineup inspired by my successful samples. I focused on sharp, contorted lines and structure. I took inspiration from talons, claws, spider legs and broken glass, which have been a staple in my work this module.

After consideration, I combined my favourite aspects of this lineup and designed my final garment. My final garment will consist of a black minidress, with a draped panel of fabric wrapping from the shoulder, around the waist and off of the hip. I will also construct a sharp, structured cape. I plan to use aquafilm to create embroidered panels that i will stitch onto the base dress.

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For this sample, I was inspired by Adam Pritchett’s work. His work, 8 Legged Repairs, inspired me to mix this technique with the horror/gore theme. I had taken a very thin cotton fabric and tore holes into them, embroidered around the fabric and then created a spiderweb/criss-crossed pattern with the thread.

I was very pleased with how this sample turned out. I have added this to a sketchbook page alongside my inspirations behind the technique. I have also included a print sample that was inspired by the sample that I created.

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In today’s workshop, I decided to focus on draping samples and begin exploring shapes and silhouettes for my final project. In my first samples, I explored shapes that i could incorporate into a figure-hugging silhouette. I particularly liked the pleating of the fabric into the waist to create a dramatic cinched look.

I then began to explore more structured silhouettes and shapes using stronger fabric. I enjoyed the dramatic shape that the fabric can hold, specifically the 5th image in which i pleated the fabric on the shoulder and draped it from that point. I feel that it created a nice shape that was relevant to my narrative through the sharp and severe shape it created.

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I began exploring more specific aspects of the horror genre. One of the most common aspects are claws, talons or long sharp nails. From witches to banshees to more animal-like creatures, talons are primarily found in birds of prey, contributing to the dangerous, villainous theme throughout my work. I have used this page as a source of inspiration for my mark-making and print samples. I am very pleased with this sketchbook page and feel that it visually communicates the narrative I want to tell.

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This collage consisted of my initial inspirations behind my silhouettes and design aesthetic. I took a lot of inspiration from Elvira and Cher, their style tends to be very dark, elegant and provocative. These outfits often incorporate sharp angles, sleek curves and revealing cut-outs.