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alexandraarmata portfolio2016 selected works


contents

//fashiondesign

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yeartwo

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yearthree

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yearfour

//illustrations

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series

//photography

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series


alexandraarmata 39 Napiermews Dr., Ajax ON 647-785-7858 alexandraarmata@gmail.com alexarmata.com

about

Alexandra Armata was born and raised in Toronto, Canada. After discovering her passion for design, Alexandra studied Fashion Design at Ryerson University, which gave her an understanding of the importance of the technical construction of clothing paired with creative expression. why fashion design?

Our everyday environment involves interaction with the things and people around us. The significance of fashion within this dialogue is a humbling one, and one that has the potential to turn the mundane of the everyday into something wonderful and unpredictable.


alexandraarmata

info // undergraduate, january - april 2014 year 2 - design studio

The project focused on the techniques of construction most often used in the production of eveningwear. While simultaneously fulfilling the requirements of the project, the design seeks to polarize masculinity and femininity. Fabrics selected are reflective of textures found in industrial construction, an industry considered customarily masculine. Simultaneously contrasted by a silouette popular in 1950’s fashion, an era of the feminity identity crisis. The garment consists of a boned understructure, an invisible side-seam zipper, and an applied textile manipulation technique known as Transformational Reconstruction.

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this + opposite page //

initial process work to generate ideas for a suitable concept. I was drawn to construction sites because of my background in carpentry.

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this + opposite page // Process work for developing the silouette and construction of the garment. I became inspired to accentuate the bust of the dress to highlight the contrast between masculine and feminine. 8


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opposite page // Process work excerpt from my sketchbook. Analyzing the completed toile and final selection of materials, I found that the design had an interesting aesthetic because of the unusual choice of fabric for eveningwear.


opposite page //

completed garment.

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alexandraarmata

info // undergraduate, september - december 2015 year 3 - danier leather design competition

During year 3 of the design undergraduate degree, students are encouraged to participate in a competition for a local manufacturer specializing in leather garments.The competition required the submition of a jacket that would appeal to the manufacturer’s demographic. The design encourages a different dialogue between the wearer and the garment. While lined with snap buttons, the jacket disassembles into random geometric shapes which can be arranged according to the wearer. Often, clothes are designed with minimal versatility. The designer attempted to create a garment that narrates a perspective where the wearer possesses a greater sense of individuality and involvement with their clothes.

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Puzzle construction and form was the starting point in designing this garment. I wanted to explore unusual forms and their connections and apply them to clothing.

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above //

Inital jacket toile with notes. The first toile was very boring with few lines. I took notes on adding more to try to make the concept more obvious. Below are fabric samples.

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above//

Jacket technical illustration of the jacket and a scaled-down pattern below.


opposite page //

completed garment.

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alexandraarmata

info // undergraduate, september - march 2016 year 4 - thesis collection

The collection is based on the concept of dress identity, which stems from observing the interaction individuals experience with clothing. Using materials that are literally used for assembly, such as tape and threading, the collection gives an impression of the mental and emotional experience of creating one’s exterior appearance. The collection dictates a narrative of the personal process of the ways we interact with clothing to shape the way we are perceived. The garments are assembled with white fabrics, exclusively, to represent a blank canvas, with ripped pieces of tape to assemble outfits. It appears haphazard and chaotic, while simultaneously giving the impression of fragility and restraint. The juxtaposition of these qualities in the garments portrays fashion as a tool to manipulate the perception of others.

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initial process work to generate ideas for a suitable concept. I was taking a sociology class that used the adjacent Magritte painting as an example of status. This sparked the idea of exploring the connection between clothing and identity.

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Series of photographs by Rosanna Jones were a large visual inspiration.


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Jeweler Lydia Hirte’s 3D sculptures were also an inspiring idea.


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above //

An excerpt from my notebook. I find that writing helps me remember my ideas and those lead me into other ideas. In the case of this collection, I was attempting to connect all the potential symbolic content to tangible representations. Specifically, I was curious what would best portray construction, adhesion or assembly. In the end, I found that duct tape is a particularily interesting because of how common it is.

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above //

At this point, I knew how I wanted the collection to appear, but I was unsure how to construct it. I outlined my possibilities, but found that a nude mesh understructure wouldn’t distract from the concept and provide a profound illusion. Additionally, I stuck in the image I found from the Bauhaus as I found the colour pallette inspiring. The idea of the primary colours being a basis for all other potential colours seemed significant.


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above //

Generating ideas of silouettes for garments. I cut strips of paper and taped them onto the forms, arranged them randomly and then flattened them in my sketchbook. It helped visualize possibile varieties in the collection.


above //

I went along with the primary colours as a pallette to symbolize foundation andopportunity, so I decided that the tape could be representative of that concept. While in display, they would be shown in order of the darkest to the lightest in colour.

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above //

A selection of fabric options. The white samples above vary in weight and lustre, for example white denim and silk-wool.


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this page //

An outline of all the components within the collection and their symbolic or metaphorical significance.


this page //

An almost completed garment, as well as the final selected fabrics and notes on how to apply the duct tape.

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opposite page //

Within the collection, 4 garments contain beaded panels. The notes explain the number of beads required and the method of creating them.


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alexandraarmata

illustrations // undergraduate, 2016 series of illustrations

The series of illustrations explores an endeavor to communicate textures, colours and silouette in a creative and individual manner. Using markers, watercolour and oil pastels the series captures a variety of notable figures in the fashion industry and reflect them as seen from the perspective of the artist.

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lara //2015

mixed media on brown paper 9 x 12


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bjork //2015

mixed media on brown paper 9 x 13


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w //2015

mixed media on brown paper 9 x 12


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anna //2015

mixed media on brown paper 6 x 18


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louise //2015

mixed media on brown paper 8 x 10


alexandraarmata

photography // study abroad, 2015

During time spent on a study abroad program, the following section features digital photos taken in various countries. While Hong Kong was considered home for a short period of time, the series includes images from China, Vietnam, Thailand and Japan.

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man paints the motherland //2015 digital photograph


lanterns in a tokyo alley //2015 digital photograph

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tsukiji fish //2015 digital photograph

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dreams of bangkok //2015 digital photograph

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the perfect jellyfish //2015 digital photograph


gui lin station - 5am //2015 digital photograph

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my neighbourhood //2015 digital photograph

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it’s knit //2015 digital photograph

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alexandraarmata

Profile for Alexandra Armata

AlexandraArmata Portfolio 2016  

Selected works.

AlexandraArmata Portfolio 2016  

Selected works.

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