Because It's There

So the other night I went to a Designers + Geeks meetup because it was about “Fashion Tech Design.” I always think that I will like the idea of fashion tech design but I usually come away slight less than whelmed.

The speakers were fairly interesting — my favorite was Meg Grant, you should check out her work here — but they left me with more questions than answers, the biggest question being, “Why?”

Grant’s work was a very straightforward answer to the “Why?” question … much of her work is art-project-y, and and such raises art-project-y questions. There are dresses that emit poems when touched, and gloves you can whisper secrets into, and a blouse where lights shining behind you seem to shine right through you, thanks to a clever arrangement of light sensors and LEDs. They’re intelligent and thought-provoking, but not something you’d necessarily wear every day. (Her recent work is investigating wearable textile solar panels, which *does* seem to answer a practical “why?” question — it makes perfect sense that if your coat could charge your phone, a sunny day would be even better.)

The other two speakers’ answers to the “Why?” question were less satisfying to me — Switch Embassy being able to animate light-up messages on a t-shirt or handbag is cool, but just because something is cool is not really reason enough to do it. Tech as decoration is really just battery-powered embroidery, or a new kind of sequin.

Sensoree’s answer to the “Why?” of tech + fashion was more therapeutic: their GER “mood sweater” is essentially a mood ring. Only, you know, in sweater form. (It also comes with a new word, extimacy, ‘externalized intimacy’.) Given how much trouble some people go to in order to hide their moods, I’m not sure that the mood sweater is really ready for the office. (Boss: “Here’s your 3Q goals!” Employee’s Mood Sweater: RAGE.) Sensoree also makes self-calming garments for people with sensory integration disorders, which seemed very practical and helpful.

The separation of “fashion” and “technology” just seems weird to me. I mean, clothing IS technology. We’ve been making clothing for tens of thousands of years. And we improve our clothing with “technology” all the time — what else would you call Scotchguard, Lycra, or laser-cut leather? And we apply technology to the fashion industry as well — what else would you call rapid prototyping, the rise of online shopping, and Pinterest? But when people talk about bringing technology to fashion, what we often mean is making it so a pair of jeans now needs batteries, and I’m not sure that’s really either a pressing need or an appropriate goal.

If you say that, no, what people mean by technology + fashion is adding sensors to clothing — making your shoes part of the Internet of Things — then again we should answer the question of “Why?” Do you want to put sensors in clothing so that you can track them as they pass through the economy? Then you’d better be prepared to only license your designer handbag, and give up the right to resell it, like you do with ebooks. Do you want to use sensors to track your health? Okay, then who has access to that data, and what happens when your sister borrows your dress? Who gets notified when your waistband figures out you’ve put on five pounds? Your spouse? Your doctor? Do you want to track your kids’ whereabouts through their sneakers? What happens when the signals are hacked and everyone knows where your kids are? Or griefers decide to make it seem as if every high-school freshman is now at the local dive bar in the middle of the day? (Which will happen …) Should the sensors communicate something about you to the world around you, a new form of self-expression? Then be prepared to listen to half a dozen PSAs at the movies telling you to please switch off your scarf and enjoy the show (after visiting the concession stand, of course).

Just because you had to solder as well as sew doesn’t mean that your dress is all of a sudden more “techie” than it was when the highest-tech thing about it was the zipper. Technology isn’t a seasoning — it’s a solution. And if you’re not solving an explicit problem, then you’re leaving your solution open for other people to match their problems to. (And if there’s one thing nobody wants, it’s other people’s problems!)

But solutions wandering around in search of a problem to solve often cause more trouble than the problems they end up being applied to … and we haven’t even touched on the ecological and human-welfare problems involved in manufacturing clothes that integrate electronics.

That said, it’s perfectly okay if the problem you’re solving is “I’m bored and I want to make a dress that lights up!” I will totally admit that I’m a big fan of kerblinkety lights, and I do have half-a-dozen “LED Dress” tutorials bookmarked. They’re fun! (Watch this space!) But just because you can add a battery pack to something doesn’t mean you should.

Today's Pattern Story: McCalls 5136

McCalls5136

 

Frieda: That’s … interesting. Syncopation is not everyone’s friend.

Melba: My goodness! Her frock is … only fringe. Entirely fringe! Over no combinations! Mother is certainly going to need some sal volatile.

Evelyn: Too, too tedious, darlings. Do you know if Jimmy brought the cocaine?

(See the Vintage Pattern Wikia entry for this pattern here.)

Oh and hey if you are in a voting-ish mood, and enjoy this blog, would you consider nominating/voting for A Dress A Day in the new BurdaStyle Best of Blogging Top Fifty Blogs contest? You know, if you have nothing better to do …

A shirtdress MADE OF SHIRTS

So as you all already know, I love shirtdresses. Love ’em. Buy tons of shirtdress patterns! Which then languish, mostly unmade, in my sewing lair.

Because, as it turns out, I love shirtdresses, and I really really love shirting fabric, but I am not really enthused about:

  • sewing buttonholes
  • making plackets
  • creating collar stands

So a while back I saw a really cute project where someone (uh, Martha Stewart) had used an old men’s shirt to make a dress for a little girl, and I thought, “Hey, what about …”

Shirt-shirtdress front

Behold, a shirtdress made of old men’s shirts. Here’s the bodice, which uses the collar and placket and sleeves of a man’s shirt.

Shirt-shirtdress bodice

I kept the collar buttons for the center skirt piece, because: why not?

Shirt-shirtdress skirt front

The sleeves are bound in bias tape made from (you guessed it) shirts.

Shirt-shirtdress sleeves

Different bindings for each sleeve. Note the visible french seam here in the bias binding, I really liked it.

Shirt-shirtdress sleeves (#2)

The skirt is an adapted BurdaStyle Heidi skirt! And as you know, I think you can never have enough pockets:

Shirt-shirtdress shirt/skirt pocket

I originally made this too long, but I really liked the effect of keeping the shirt-tail hem as the “skirt-tail” hem. So I just cut the hem off, then reattached it with more “made from a shirt” piping. (I very rarely meet a seam that is not improved by piping.)

Shirt-shirtdress hem & piping

Here you can see the color-blocking of the different shirting patterns, and the SECRET POCKET inside the pocket.

Shirt-shirtdress pocket and skirt (with bonus pocket)

Each pocket has a secret pocket. Oh and I piped the pocket edges with more bias trim made from a shirt, because why not?

Shirt-shirtdress side pocket and skirt with bonus pocket

Here’s the (inexpertly-ironed, it was late) back view:

Shirt-shirtdress back

I wore the longer version of this last weekend and loved it. SO comfortable and fun to wear (although the previously very long length made it more difficult to walk in, and weirdly made it feel slightly more “Japanese designer” than my usual efforts). Thus the skirt-shortening.

Because I like how this turned out so much, I plan to make another one (or possibly two — I bought a lot of old shirts at Goodwill!) and post a full tutorial. You know, the kind with instructions and pictures and everything. (I have a few tweaks I’d like to try, like maybe doing tucks instead of darts in the bodice and making the skirt fuller with a wider center panel.) This is really ridiculously easy to do, once you have the model of how it should work straight in your head. (The tricky parts to figure out were how to bodice-ize the shirt and how to get the skirt hems to line up nicely.) Everything else is a “simple matter of engineering”, as they say.

Today's Pattern Story: Butterick 3613

Butterick3613

 

ANNOUNCER: Today’s elbow-wrestling contestants are Katrina Williston and Melody Gunnersdottir, both of Pleasant Prairie, Minnesota.

COLOR COMMENTATOR: So a real home-town grudge match, huh, Tom?

ANNOUNCER: Well, Bob, Pleasant Prairie has been a hotbed of elbow-wrestling since a spate of unfortunate hand amputations from thresher malfunctions back in the Great Depression. But it’s only been in the last five-ten years that women’s elbow-wrestling has been drawing such a high caliber of athletes. Melody was All-American in elbow team shuffleboard in high school, before switching to elbow-wrestling as a college freshman.

COLOR COMMENTATOR: And Katrina’s background is interesting as well, isn’t it, Tom? She’s the foreman — excuse me, foreWOMAN (laughs) — at the local poultry processing plant, is she not?

ANNOUNCER: Evidently gutting thousands of chickens an hour is a fantastic training regimen. She was the cleanup wrestler on her plant’s intramural elbow-wrestling team and her manager encouraged her to go pro.

COLOR COMMENTATOR: In fact Prairie Chicken Processors is her #1 sponsor. She has a great chicken recipe blog, viewers should check it out at KatrinaKlucks.com!

ANNOUNCER: And we’re starting the match. Melody is really taking advantage of choosing the Upper position in the coin flip. Look at that leverage!

COLOR COMMENTATOR: But these women are such showing such true sportsmanship — sorry, sportsWOMANship (laughs). Gravity may be a bitch, but these wrestlers are pure ladies.

ANNOUNCER: You said it, Bob.

[Pattern available here.]