Arts Thread

Meredith Buck
Fashion Design BFA

Academy of Art University

Specialisms: Atelier - Pattern Cutting / Apparel / Accessories

Location: San Francisco, United States

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Meredith Buck

Meredith Buck ArtsThread Profile

First Name: Meredith

Last Name: Buck

Specialisms: Atelier - Pattern Cutting / Apparel / Accessories

Sectors: Fashion/Textiles/Accessories / Fashion/Textiles/Accessories / Fashion/Textiles/Accessories

My Location: San Francisco, United States

University / College: Academy of Art University

Course / Program Title: Fashion Design BFA

About:

Meredith Buck is a sewist, weaver, and jack-of-all-trades artist based in Kailua Kona, Hawaii. Learn more about Meredith on her website: http://www.meredithbuck.studio/ or Instagram account: @meredithbuck.studio

This project was my second big project working in CLO3D. The focus here is gaining mastery with some of CLO's more finely tuned elements -- for example adjusting the avatar's appearance and creating a tech pack. I created this project from start to finish while living at my childhood home during the COVID-19 pandemic. While at home, I found a box of yarn in the basement from before I left ten years ago. It made me remember being young, having lots of time for creativity and all my friends around me to work on projects together. I began to play with the yarn, and came up with a knit stripe and a patchwork of crochet flowers. From there I used my scanner and Photoshop to create custom fabric textures to use in CLO. I applied them to designs I reworked from a previous design project, and built a dream-world of optimism and youth. For me, this was a meditation on age and agelessness just as much as it was a chance to learn a new software. Even though ten years have passed, sometimes I still feel like the young woman I was before. This collection is a reflection of that process.

This project was a chance to hone my skills making flats in Adobe Illustrator, as part of my degree studies at Academy of Art University. By gaining foundational skills, I was able to convey a variety of shapes and textures: from light to dense knits, crisp poplin and rigid denim, athletic fleece and supple leathers.

Taking my Illustrator skills to the next level, I curated a collection of activewear from around the web, prioritizing brands taking steps toward ecological sustainability. My goal was not only to create a group of industry-level flats, but also to generate a cohesive collection. I felt so inspired by my girlfriends at home in Kona who train in the martial art of Brazilian Jiu Jitsu, and wanted to honor their boldness and strength through colorful Aloha prints that can go from the mat to the beach in an instant.

Spring 2018 Semester: Fashion Design level 3 Final Project Rainbows and Butterflies is a commentary on idealism and hardship. It plays on classic American workwear by delving into colonial history and associated dress, from pioneers through textile mills at the turn of the 20th century. I think there is a common perception among Americans (particularly those of colonial descent) that settling a "new frontier" is a wonderful thing, without considering the grim reality of what that necessitates and implies. Likewise, much of the workwear and everyday garments that even wealthy Americans turn to again and again have functional and work-oriented roots. Though the modern class structure has removed a larger portion of the (white) population from manual work, the influence of workwear remains close at-hand even in expensive wardrobes meant only for looking good. When one is able to recognize their world and their history as a story of "rainbows and butterflies", the capacity to engage with gritty reality changes. The clothes in this collection are meant to seem a part of the world of "rainbows and butterflies". They are wholly impractical, meant totally for the sake of fashion. Yet a closer look reveals fabrics, textures, colors and details that connect to a much more demanding past and to a history of colonial force. When things look appealing on the surface, more often than not there is much more to learn.

Spring 2020 Semester: I took this collection from a previous Fashion Design Level 3 and used CLO3D to simulate two looks.

Spring 2020 Semester The Deconstructed Jacket is a process of pulling apart a tailored jacket, analyzing its parts, and building solutions to improving pattern design. For this purpose I used CLO3D to develop alternative sleeve solutions for a 10 Crosby wool coat.

Fall 2018 Semester As part of a class on sustainability in fashion I created a 36-page booklet outlining toxic leather manufacturing and traditional methods of hide tanning as solution. The full booklet is available on my website: www.meredithbuck.studio/

Spring 2020 // Recreation of Sacai shirt and building Japanese construction pant By laying the garment flat on the cutting table, I was able to transfer all seams of the shirt from Sacai and gain a pattern to work from. After making some observations, I built pattern alternatives with an eye to improving construction or minimizing manufacturing costs. I ended up with a replication that includes my changes. To go with the shirt is a pair of Japanese construction pants called Nikka-zubon. Because the Sacai shirt is purely an example of style, I wanted to create something that is totally about functionality and usefulness. They make a funny combination but I learned a lot from the study. Part two takes these garments to the next level with material comparison and selection.

Fall 2020 // Material study with Sacai shirt + Nikka-zubon Continuing on from Spring semester's focus on patternmaking, here the project shifts to material seletion. The shirt and pants are each made twice, in two different fabrications. This allows a comparison both of overall appearance and of finishing techniques specific to each fabrication. For example, the pant is made in twill and again in fleece-backed jersey, resulting in a classic Japanese construction pant and an avant-garde sweatpant. With completed garments available styling, usability, and wearability become more apparent.

Fall 2020. The process begins with two large squares from which a quadrant has been removed. After stitching these together along the resulting right-angle edges, the fabric has a fullness of 540 degrees. This is applied to the dress form in a variety of positions in order to choose a final placement. Once the final placement is selected, the fabric is slashed and marked until a dress begins to emerge. The form is resolved by adding or subtracting fabric. After transferring the pattern and reflecting it to the other side of the form, the first toile is born. This toile can then be unpicked at CB and shoulder, then reapplied to the dress form as-is to repeat the process all over. An alternate design takes shape.

Fall 2020 study of 1929 dancing gown by Madame Vionnet. I began with a scan from Betty Kirke's coffee table book, which I scaled up to size in CLO3D. Within CLO I tested a variety of fabric settings, and cleaned up the pattern to suit my construction strategy. Using a plotting service, I had full-scale printed patterns delivered to my home. From there began the process of demi-couture construction. I selected two different silks to construct the dress. Because the dress is a quadrant which hangs on the bias, the fabric must be prepared by pre-cutting and weighting. The final construction is intended to mimic the techniques used in the 20s-30s, with rolled edges, French seams, and a combination of machine and hand-sewing.