mariana oreilly millinery
DESCRIPTION
My practice verges towards millinery and sculptural fashion detailing and explores the discipline of using stitch techniques and fabric manipulation to create a three dimensional form. My background in the discipline of embroidery, machine and hand-stitch, form the foundation of my shape making and textile construction.Achieving a sculptural quality within my work is a continual source of inspiration for me. I derive concepts from external sources to inform my practice - often I look to the forms found in industry and machinery and the shapes and lines in aviation.My work is underpinned by a personal fascination with contradicting or exaggerating the natural outline of the body. The theatrical and the ambiguous captivate me and I hope my work invokes the same excitement in the viewerTRANSCRIPT
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An Autumn/ Winter 1940'sinspired, sculptural grey wooland tweed hat, with 'hot pink'and 'electric blue' hand-stitchembroidery. I used fabricmanipulation andconstructional techniques toachieve a sculptural form.These techniques wereincorporated from skills I hadacquired from my degree showbody of work. Modelled myAine O'Reilly, photographer(myself).
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Images on page two illustrate abody of work from my final yeardegree work. These pieces exploretextile construction and three-dimensional textile shapes. I wasable to achieve these three-dimesional forms withoutalternative support mechanisms- ieno wire or plastic boning was used,simply just fabric.Materials used here- tweed, woolsuiting, 'hot pink' silk andembroidery hand-stitch. Shapes areinspired by industrial andmechanical forms. Photographer(myself)
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Model wearing 'sculpturaltextile pyramids'. This is animage from my final degreework. Demonstrating an 'art-led' concept applied to afashion concext. In somesenses you could describe thisimage as 'sculptural fashiondetailing'. Photographer IndiaHobson, model (I cantremember).
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Model wears a sculpturaltubular neckpiece. Lends itselfwell to costume for theatre andfilm, more so than a fashionitem. You could be pretentiousand describe it as 'conceptualfashion' (as I did in my degree).Inspired by masculine,mechanical and industrialforms, and ideas of protection.Materials wool suiting andtweed. Photographer- IndiaHobson.
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Navy tweed hat with a'sculptural herringbone tweedribbon' and orange hand-stitchembroidery. Created afterdegree. Location- a pop-upboutique in Belfast oct '11 runby designer Grainne Maher.Photographer (myself).
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A degree piece used im myfinal degree show. Sculptualtweed shoulder piece, usingmachine stitch and fabricmanipulation as a means tocreate a three-dimenionaltextile form. Again under thebracket of 'Conceptual fashion'.Could led itself well tocostume. photographer IndiaHobson.
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Tubular neck-piece (seedecription for pg 4). Imagebelow- A hat inspired by 1940'sutilitarianism and aviation.Made from tweed and silk.Commissioned for theManchester Gallery ofCostume. 'Hot pink' stitching.Modelled in Liverpool byBecky Tavernor. Photographer(myself).
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See decription above. ModelBecky Tavernor, photographer(myself).
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An Autumn/ Winter hatincorporating silk mix tweedwith hand-stitch embroideryand a pheasant feather. ModelAine O'Reilly. Photographermyself.
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