Sumbawanga Trail by Volker Koch

Sumbawanga Trail Volker Koch Shifting Anthropological Form into Contemporary Utilitarian Artefact

Rukwa

Lengai

Dawa

Doinyo

Likoma

Tsavo

Mahale

Katavi

Sumbawanga Trail Origin of Names

“There are no foreign lands. It is the traveler only who is foreign.” Robert Louis Stevenson

Map courtesy of Worldmap and Harvard University This collection’s name as well as each artefact’s name make reference to places in and around Tanzania, Malawi and Kenya. I visited these places during my travels through East Africa in 2008 and associate special memories with them. SUMBAWANGA is a little town in west Tanzania. Sumbawanga is Kiswahili for ‘Throw your witchcraft away’, aimed at the many Congolese and Burundi refugees who settled in the village, annoying the locals by practicing their native country’s rituals. The National Parks KATAVI, MAHALE and TSAVO differ a greatly from each other. Katavi hosts vast flood plains, while Mahale on Lake Tanganyika is a remote jungle-like sanctuary for chimpanzees. Kenya’s Tsavo National Park borders onto Tanzania and is known for its diverse wildlife. The alkaline Lake RUKWA lies midway between Lake Tanganyica and Lake Nyassa and has fluctuated a lot in size over the years due to the varying inflow of streams. LIKOMA is a very peculiar Malawian island. It is an exclave of Malawi since it is entirely surrounded by Mozambican territorial waters and is home of St. Peter, one of the largest cathedrals in Africa. Ol DOINYO LENGAI means ‘The Mountain of God’ in the Masaai language and is an active volcano next to Lake Natron in northeast Tanzania. As an exception to the other names ‘DAWA’ is not a place. It translates from Kiswahili to ‘Medicine’ and is a popular local drink made from sugar cane spirits, lime and honey. I found it an apt name for that particular bag as I struggled for 3 1/2 hours to work the front part of it over the mould and would have well enjoyed this kind of medicine after completion.

Katavi

Tsavo

Rukwa

Likoma

Doinyo

Lengai

Mahale

Dawa

#1 Katavi

Megalithic shoulder bag with contoured strap and custom made oxidized brass magnetic closure Light grey vegetable-tanned cow hide

23 67

Concealed butted hand-stitch

#5 Doinyo

Megalithic clutch with contoured Moebius handle and hidden magnetic closure Light grey vegetable-tanned cow hide

12 31

Concealed butted hand-stitch 7.5

Key shape of the collection 13

#2 Tsavo

Megalithic shoulder bag with adjustable strap and custom made oxidized brass magnetic closure 23

Aubergine vegetable-tanned cow hide Concealed butted hand-stitch

#6 Lengai

Megalithic clutch with contoured Moebius handle and hidden magnetic closure

Antique brown vegetable-tanned cow hide

Concealed butted hand-stitch

6.5

#3 Rukwa

#7 Mahale 57

Megalithic shoulder bag with contoured Moebius handle and hidden magnetic closure 21

Light grey vegetable-tanned cow hide 48

Concealed butted hand-stitch

Megalithic balancing pouches with shoulder strap Beige vegetable-tanned cow hide Concealed butted hand-stitch

11 15 8

#4 Likoma

Megalithic evening bag with magnetic closure 25

Mauve vegetable-tanned cow hide Concealed butted hand-stitch

#8 Dawa

Megalithic clutch with double-sided hidden magnetic closure Blue-grey vegetable-tanned cow hide Concealed butted hand-stitch

12 9

SUMBAWANGA TRAIL

Shifting Anthropological Forms into Contemporary Utilitarian Fashion Artefacts

As a continuation of the previous successful study project, the Moebius Strip2 has been carried over and merged with some of the anthropological forms. The mathematical surface with peculiar properties is a finding of late mathematician August Ferdinand Möbius and provides a connection between primal hand tools and modern thinking.

INTRODUCTION This evaluative commentary outlines the ambition, development and outcome of the ‘Sumbawanga Trail’, a collection of moulded leather vessels by Volker Koch as part of the MA Fashion Artefact Final Project. The collection explores the aesthetics of origins of form and makes reference to African artefacts and science as it draws a parallel between tribal art, cubism and contemporary Shona1 stone sculpture. As suggested in the MA Final Project Proposal, the concept of this project rests upon three main pillars: Origin of Form, Materials of Nature and Celebrating Construction

Fig. 4

Fig. 5

Materials of Nature

Origin of Form At the start of this project the challenge posed by myself to the audience is: Can basic anthropological form be morphed to contemporary utilitarian fashion artefacts? In order to give the reader full comprehension of this quest, the terms ‘anthropological form’ and ‘fashion artefact’ first need to be defined: A ‘fashion artefact’ converges timeless intrinsic beauty with a strong contemporary fashion-relevant approach in a single object. It doesn’t follow trends but rather challenges them, manifesting them newly interpreted in a manner that withstands time and seasons. A fashion artefact pushes boundaries of technique, material and concept beyond of what is current. As a vanguard in timeless fashion, its creation should be rooted in significant research, leading to an innovative design that not only appeals when worn on the body but can also stand alone as an original artefact in its own right. The term ‘anthropological form’ has been chosen by myself as reference to simplistic man-made objects from the early days of mankind. Essential tools such as the grindstone (Fig. 1) or the hand axe might have been very primitive and were initially crudely shaped with the mere practical function in mind (Fig. 2). Repetitive making of these instruments, however, gave the first hunter-gatherers a growing level of skill resulting in less random and more defined, even beautiful form (Fig. 3). It is the fascination of this blurred line of transition between basic shaped tool and refined artefact that constitutes the main aspect of anthropological form.

The choice of materials is perhaps the most crucial element in the creation of an artefact. Once living materials radiate warmth and energy. They have a soul that no man-made material can imitate. Their imperfections are what make them precious as each of them tells a unique story. If artisans decide to work with substances from nature, he/she needs to know exactly how to embrace their individual ‘temper’ in order to bring out the best in them. It has to be considered what a material’s look, feel and function works best within the product’s context. It also needs to be assessed through relevant studio experiments what the threshold-limit of each of the applied substance is and how bringing in different types of materials might change that. This is a challenge that was taken up for this collection. For the Sumbawanga Trail project, it was decided at a very early stage to take a sustainable approach. This entails the use of environmentally sound materials and processes wherever possible while ensuring the overall suitability for a high standard of quality. The artefacts are mainly made up of leather and metal. A sponsorship with Metropolitan Leather had been secured before the start of the project for vegetable-tanned nude (unfinished) cow leather. These hides were found to be most suitable for applying the wet-moulding process and are also known to age beautifully with use. The hides were hand-dyed and hand-finished which added to complication as later described in the material processes. Celebrating Construction Only through the afore-mentioned dialogue between artisan and material will the particular characteristics and splendor of the natural material come to life. To achieve this, he/she is compelled to apply an approach of continuous adaptation to the material manipulation. By combining traditional and modern making techniques with technology the construction is re-assessed and completed one procedure at a time. Only this will ensure the highest quality and innovative execution. Having worked a large part of my professional life in product development of leather goods it was clear from the beginning that I would execute the largest part of work by myself. There are several reasons for this; one being that it would be the best way to gain new skills particularly in wet-moulding leather, a technique he initially had no experience with. Another reason is that by being involved in the making process, one can react much quicker to potential queries and unforeseen circumstances. As mentioned above it also allows to re-assess procedures after each step. This could be crucial, especially if an issue affects more styles of the collection, perhaps resulting in a ‘domino-effect’ if not attended to immediately. A third reason is that by making an object, inevitably a bond will be created between the maker and the object, enriching it with part of the maker’s energy and soul. There are, however, instances where it is of great advantage to outsource work. This is mainly the case for techniques or processes, which one has no experience in or if there is a shortfall of time to cope with the workload alone, which as discussed later, did in fact occur during this project.

Fig. 2

Fig. 1

Fig. 3

FASHION CONTEXT Hard-shell bags are a common accessory these days. They are often vacuum-formed plastic outer shells combined with Nylon carrying systems. These items are light, useful and popular bags for the mainstream commuting clientele.

Investigating the more cultural side of early form, shapes of menhirs (known as megaliths) and stelae are equally relevant in this definition. They are standing stones occurring across Europe, Africa and Asia. They can vary considerably in size but their shape is generally uneven and squared, often tapering towards the top such as the Tiya Stelae situated in central Ethiopia which I visited in 2008 (Fig. 4). While this particular group of 36 stele are believed to be gravestones, other megaliths, such as Stonehenge and the 1000 years older Nabta Playa at the southwest corner of the Nubian Desert of Egypt are aligned in a particular order and are thought to have an astronomical function (Ruggles, 2005). As the developed forms are the result of various influences interrelating with the above mentioned, this subject needs to be elaborated on further: The previous two paragraphs explain the strong presence of tapered biface-like form in the silhouettes of the Sumbawanga Trail collection. Other design influences are of African tribal art, especially masks and stone sculpture. Both feature visual abstractions of the human figure along with inter-morphosis of human and animal. Particular interest was paid to contemporary Shona stone sculpture from Zimbabwe, which is internationally known for its vigor, spontaneity and originality. Shona sculptors such as the late Nicholas Mukomberanwa specialize in a cubistic style where objects from nature are broken up, analyzed and re-assembled in an abstracted from, compelling the viewer to reflect and interpret anew (Fig. 5). African tribal masks often display exaggerated elements such as mane-like hair, elongated faces or protruding eyes. They relate to distant supernatural powers, pagan beliefs and rituals, creating magical energy and mystic presence. This links directly to the project title ‘Sumbawanga Trail’. Sumbawanga is the name of a town in western Tanzania, which I visited in 2008. ‘Sumbawanga’ is Kiswahili for ‘Throw your witchcraft away’, aimed at the many Congolese refugees who settled in this area, annoying the locals by practicing their native country’s rituals.

The question I pose is: Where is the luxurious leather equivalent of this type of bag and is there a demand for it? In 2005 Chanel made an attempt and launched a limited edition of the hard-shell case ‘Chanel 2005’ ergonomically designed by Karl Lagerfeld and lovingly dubbed ‘The Butt Bag’ by some, due to it’s curvaceous shape (Fig. 6).

Fig. 6

One can only speculate why this bag was launched as part of a limited edition (an enquiry at the Chanel PR department proved to be fruitless without a response). But I guess the production cost must have been considerably high in comparison to other bags on the market.

Furthermore, there might not be a vast demand for high-end hard-shell leather bags but I can see a niche in the market for a certain type of customer who has discerned taste and is longing for a bespoke, light and rigid and sleek leather vessel. The wearer may ask: What is the motivation behind this project? One reason is my personal interest in exploring wet moulding of leather. The other reason is rather about raising awareness. By bringing primal forms into a contemporary context and therefore closer to the viewer, he/she gets reminded how mankind all started. It questions trends and puts the fashion industry into an insignificant perspective. This collection aspires to raise awareness for the diversity of culture and thinking in our world. By fusing traditional elements with science and modern thinking, my aim is to design luxury fashion products for a contemporary market.

1 Large ethnic group in Zimbabwe

The first 3 processes about finishing and scanning the clay model have been explained above. Below are some images from the milling and finishing process of the block (Fig. 12 to 15).

One reason is my personal interest in exploring wet moulding of leather. The other reason is rather about raising awareness. By bringing primal forms into a contemporary context and therefore closer to the viewer, he/she gets reminded how mankind all started. It questions trends and puts the fashion industry into an insignificant perspective. This collection aspires to raise awareness for the diversity of culture and thinking in our world. By fusing traditional elements with science and modern thinking, my aim is to design luxury fashion products for a contemporary market. RESEARCH & METHODOLOGY I started my design process by researching images of African artefacts, masks and tribal body adornments. During my research at the library of the School of Oriental and African Studies (SOAS), a thin book called ‘Origins of Form’ (Siebrits, 2002) about the work of stone sculptors of the Shona people in Zimbabwe immediately drew my attention. Especially the outstanding contemporary sculpture ‘Baboon’ from Nicholas Mukomberanwa has left a vivid impression in me. The organic form, which has been divided into perfectly chosen facets, hasn’t ceased to fascinate me.

Fig. 12

Fig. 13

As drawing is not my strength, I started combining my found images into collages (Fig. 7), which enabled me to abstract the shapes, creating unique form and interesting images. Very soon however, I discovered the oil based modeling clay (Plasteline) and started to model miniature models of vessels, thereby putting them onto a wooden artist’s mannequin (Fig. 8). This enabled me straight away to look at 3-dimensionality, proportion as well as shapes that take on the form Fig. 7 of the human body. As soon as I was happy with a form, I would then sculpt a Plasteline model in the final size. The use of heat of the oven or the heat gun allowed me to modify and add pieces quickly. The only challenge was sculpting bigger pieces such as design # 3. Even though I used a base of Styrofoam, the weight of the clay made it challenging to do a proper fitting on a life size mannequin (Fig. 9), without breaking some of the extending parts. The methodology used in previous unit’s Moebius Clutch, that is 3D scanning the sculpted shapes to get a digitalized block was very successful, so I decided to use it again and refine it. (Fig. 10, 11, 12)

Fig. 14

Fig. 15

Fig. 16

Fig. 17

Only once the seam lines of the different pattern pieces have been determined, the process of creating the patterns can begin. The placement of the seam lines is crucial not only aesthetically but also from the technical aspect. When moulding leather over a block, one has to consider where there will be an access of leather which needs to disappear in carefully flattening the wet pleats of the leather and in which areas the leather needs to be stretched to be able to fit. Patterns are first made using damp or steamed blocking net, a starched fabric that holds its shape when dry again. This form of pattern making (opposed to utilizing pattern card) is used on organic shapes (Fig. 16 and 17).

Fig. 9

Fig. 8

Fig. 10

Fig. 11

Fig. 12

All 8 artefacts are made using the same process: Wet moulded leather gets pulled over a block that is shaped like the final piece. The leather takes on the shape of the block. Once it has dried, it becomes hard and keeps this shape. Blocks are traditionally used in millinery but also in form of lasts in footwear manufacture. Instead of using a block maker, I decided to work with the model maker Ashley Osmond from DataCam Models who had made my previous block for the Moebius Clutch. The reason for this was that Ashley’s turn-around time was a lot quicker than the one of traditional block makers who have lead times of 2-3 weeks. I could also negotiate a discounted price when it was apparent that he would make all 8 blocks. I also secured a sponsorship for the styling board used by Ashley to machine my blocks. The Rampf Group Inc. who are based in Germany sponsored enough styling board to machine the blocks for my entire collection. Styling board has similar properties like wood, but is more suitable for machining since it doesn’t have a grain that has to be considered when cutting natural wood. For my purpose of blocking leather, it is the perfect material. It is porous enough to absorb the moisture from the wet leather, but at the same time it is strong enough to hold it’s shape and keep the nails used to keep the leather down on the block. It is also easy to rasp, file and sand (Fig. 14 and 15)

Fig. 18 7 Blocks for 8 styles.

For

Fig. 19 style

#7 Mahale, the #8 Dawa block was used.

In order to give the reader an overview of the different processes from design to the finished artefact I have listed them below: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.

Sculpt intended shape as a miniature Plasteline model Sculpt the real size model in Plasteline 3D scan Plasteline model in order to obtain digital file of the shape Use of digital file to machine block with 3D CNC router Refining of block by rasping, filing and sanding Determine seam line of the different pattern pieces Create patterns from block by using steamed blocking net used in millinery Cut leather and dye the flesh side Wet leather panels and stretch/mould over block Recut leather on the block after drying Mark stitch line Slit groove for concealed butted hand stitch Prepare and finish raw edges Hand -stitch together panels Hot crease the slit with creasing iron

Fig. 20

Fig. 21

Once the flat patterns have been made, the pattern pieces get cut out of the leather. Then the leather gets soaked in warm water.

Once soaked, the leather gets moulded and pulled onto the block. Hot steam gets applied to make the leather more supple in difficult to shape areas. Pins are pushed into the leather so that it keeps the shape while drying. (Fig. 22 - 25)

Fig. 22

Fig. 23

Fig. 24

For styles # 1 and # 2 it was decided to add a custom made magnetic closure which was carved according to my instructions by a wax carver in Hatton Gardens and then cast in brass by JustCast. Even though I was initially not very enthusiastic about using metal on my bags, I am very pleased with the result now.

Fig. 25

The challenge was that my leather had to be around 2mm thick in order to maintain a permanent structure without reinforcement and without lining. Often patterns seemed to fit fine in blocking net but were impossible to fit in the real material. In such case, the seam line was shifted to alleviate the problem.

Fig. 30

Due to my minimalist design approach, my pieces were not lined. It was decided to dye and smoothen the flesh side of the leather by spraying it with water based dye, applying moss gum and smoothing the fluffy flesh with a wooden spatula. This process was done before soaking the leather and worked very well.

My overall time management was flawed. Due to a period of dormant creativity during the summer term break and procrastination in starting the work on the final pieces my planning got delayed. It was not before the course director did mention this during a design review that I realized I needed to get help with my project if I wanted to finish it on time. For an artisan who takes pride in his work like me it was initially a huge disappointment that I could not finish the work on time by myself. In retrospect I must admit that I have learned a lot from this experience. Having to trust people in what they do does not come easy to me. But through this experience I have learned that delegating work also empowers the people whom one entrusts that work. It is equally rewarding to see that we have managed to keep within the timeline only because we have worked together as a team.

Stretching the leather over the block was often a tedious and nerve-testing task that sometimes even had to be carried out by two people together in order to stretch the leather enough. On style # 8 my assistant and me spent 3 ½ hours ‘blocking’ one panel alone and for designs # 5 and # 6 it took a similar amount of time. A task that took far longer than I estimated was the process of recutting. Wanting a precise result, I had vacuum form moulds made from my blocks to create recutting patterns from that. But most of my shapes, especially the ones featuring a Moebius Strip don’t lend themselves to this technique, so I ended up recutting the pattern pieces almost ‘blind’ since the actual line I have to follow with my knife is drawn onto the block and is totally obscured by the oversized leather. That means cutting and guessing where the line is placed. The risk of cutting too much off the one leather panel is high and would result in having to replace it.

Fig. 31

Fig. 32

PLANNING & TIME MANAGEMENT

SUMMATION The past few months during the final project have been very trying times. I have not only learned a lot about various making techniques but have also grown immensely personally. Overall I am pleased with the outcome of the project, even though I know that some of the finishes could have been done more perfectly had I given myself enough time for the project. For this project, I have not chosen an easy path. At times it seemed that nothing in my project is straightforward. The combination of organic shapes with demanding making and stitching techniques that leave very little room for error, I asked myself numerous times if I had not pushed the boundaries too far. To my liking the concealed hand stitch is not yet consistent enough and probably requires more experimenting to refine it to perfection. There is surely a reason why so far no Designer of note (except Lagerfeld’s 2005 ‘experiment’) has ventured into the ‘leather hard-shell luxury segment’ since it entails a lengthy processes that inflates the cost of making.

Fig. 26

Fig. 27

Another very risky task is part of my stitching technique. This technique I adapted from shoemaking and from saddlery, where it is used to stitch a certain part of harnesses. Instead of stitching into holes made by pricking irons, in this technique the thread totally disappears in a slit. Once the edge of the leather is recut and a line marked 3mm away from the edge, this line then is to be sliced with a sharp knife at an angle of approximately 45 degrees. Full concentration is hereby required because the slit should not be cut deeper than 1/3 of the leather’s thickness. Otherwise the strength of the stitching would be compromised. After completing the hand stitching, I use a hot creasing iron to refine and close the edge of that slit.

Fig. 28

Fig. 29

But nevertheless I can see there is room for this type of luxurious bag being made by knowledgeable designer-makers in the niche of bespoke manufactured leather goods. MANY THANKS TO My Family Roy Winnard and Stuart French of Metropolitan Leather Peter Kimmerle of RAMPF Tooling GmbH & Co KG Ashley Osmond of DataCam The Technical Staff at Golden Lane Golden Lane Facilty Staff Peter Hill and his team Vesna Pesic Mary Wing To Naomi Filmer Eelko Moorer Dai Rees

BIBLIOGRAPHY

MATERIALS AND INDUSTRY LINKS BIBLIOGRAPHY

Boyer, A. (2007) Le Corps Africain. Paris: Hazan

BRASS FITTINGS Just Castings Ltd 18 Saint Cross Street Hatten Garden London EC1N 8UN Phone: +44 (0)2074041699

Braungart, M. / McDonough, W. (2008) Cradle to Cradle. Croydon: Vintage Braungart, M. / McDonough, W. (2009) Die nächste industrielle Revolution. Hamburg: EVA Dean, J. (2010) Wild Colour. London: Hachette Flint, I. (2008) Eco Colour. Millers Point: Murdoch Books Australia Hahner, I. (2007) African Masks, The Barbier-Mueller Collection. Munich: Prestel Verlag Malik Chua, J. (2010) ‘Issey Miyake Unfolds Origami-Inspired “132 5” Eco-Fashion Collection’ Ecouterre [Online] Available at: http://www.ecouterre.com/issey-miyake-unfolds-origami-inspired-132-5-eco-fashion-collection/ (Accessed :6 January 2010) Reynolds, M. (1993) Earthship: Evolution Beyond Economics. Phoenix: Solar Survival Press Scherz, A. and E. (1992) Frisuren, Kopfbedeckungen & Schmuck in Namibia & Südangola. Windhoek: Gamsberg Macmillan Publishers Silvester, H. (2008) Natural Fashion, Tribal Decoration from Africa. London: Thames & Hudson Siebrits, W. (2002) Origins of Form. Johannesburg: Warren Siebrits Modern and Contemporary Art Thackara, J. (2005) In The Bubble, Designing in a Complex World. Cambridge: The MIT Press

VEGETABLE TANNED LEATHER Metropolitan Leather Co. Ltd Cottingham Way Thrapston Northamptonshire NN14 4PL Phone: +44 (0)1832 732216 WAX CARVING Danila Tarcinale and Russel Lownsbrough Unit 103, Entrance 1 Black Bull Yard 24 - 28 Hatten Wall London EC1N 8GH Phone : +44 (0)2072425552 3D CNC MACHINING DataCAM Models Ltd 53 Spaces Business Centre Ingate Place London SW8 3NS Phone: +44 (0)20 3538 5416 CUTTING TOOL MAKER Macneil Metalcraft Grimsdyke, Whiteleaf Buckinghamshire HP27 0LX Phone: +44 (0)7803 582928 SURGICAL BLADES SUPPLIER Swann Morton Surgical Blades Ltd Owlerton Green Sheffield S6 2BJ Phone: +44 (0)114 2344223 NATURAL DYE EXTRACTS Wild Colours Unit I-135 The Custard Factory Gibb Street Birmingham B9 4AA Phone: +44 (0)7979 770865 HAND STITCHING Mary Wing To Fashion Royal Mews 13 Buckingham Palace Road Westminster London SW1W 1QH Phone: +44 (0)7780956477 STYLING BOARD SUPPLIER RAMPF Tooling GmbH & Co. KG Robert-Bosch-Strasse 8-10 72661 Grafenberg, Germany Phone: +49 (0)7123 9342 1680