Not a seam in sight..

Shima Seiki Industry Visit - Nihonbashi, Tokyo

I felt quite privileged to be given the opportunity to visit the Tokyo based offices of Shima Seiki seamless knitwear technology. As a knitwear designer it was an insightful opportunity to find out more about where the industry is moving and how this technology is affecting the production of apparel and the possibilities within knitwear design. This office space is primarily used as a showroom for the Shima Seiki business to present the latest ideas and developments with the machinery and to promote the product to industry. Presentations are conducted here and people can visit to find out more about the technology, view their samples and gain inspiration.

The day was intended to give us a general understanding of Seamless Wholegarment Technology (SWT) and where it currently fits into industry. The offices were laid out almost like an exhibition space where there were samples, garments and accessories displaying the variation of techniques and outcomes that can be produced using the technology. We were showed two garments which were identical in pattern but one was produced using SWT and the other was fully fashioned and made up of numerous separate pieces. The difference in drape and finish was very prominent and the SWT version hung in a completely different way. This emphasized the benefits of the technology to the aesthetic quality of a garment and demonstrated how it eliminated all visible imperfections from the knitting process. It also removes the strain on seams under the arms of garments and other little details that can be minor flaws in the construction of normal knitted products.

One disadvantage of the technology was that designs had to be passed back and forth between the production team and designer in order to get the samples right and fitting the brief. Cost and time became an issue with this, as it could sometimes take days to communicate ideas and modifications. They have since developed a technology that makes it possible to send a realistic ‘virtual’ sample digitally between them, cutting the exchange process down to hours instead of days and as this image shows, the digital images have a strong resemblance to the intended fabric.

We were also shown the extent of the design functions made possible using the software. Techniques, patterns and images can be easily drawn into designs on the system and adapted to suit the designer regarding things like stitch size and the placing of details. The detail that you can go to in amending the pattern is meticulous and the ‘simulation’ of the final piece that it provides you with is incredibly realistic, presenting a strong visualisation of the end design. A colour variation can be taken directly from a photograph and applied to a design; the computer even gives you ‘suggestions’ on other possible colour palettes and combinations of what ‘it thinks’ will work. I find the capacity of the software pretty mind-blowing.

We then had the chance to look around their showroom and examine sample garments of what can be produced using SWT. Some of the combinations of techniques that can be used simultaneously were so complex and I found myself examining things for any signs of ‘cut and sew’ or seams! The visit was extremely valuable to someone studying Fashion Knitwear like myself, and extremely eye-opening to the modern industry.

PS.. From Sarah..xx

Jonie Missoni!

Yes I found them!

Whilst finding the Toulouse Lautrec exhibition we stumbled upon a busy shopping area in the middle of the modern International Forum!

There amongst last years fashion sat four full beautifully patterned, wonderfully contrasting Missoni clothes rails! Heaven!

The detail in the knit is extraordinary...mixing colour, with texture whilst keeping the pattern structured and interesting! This is why I find them so fascinating, the shapes are classic and simple but the technical knit and colour is something else.

 Sarah and I took the chance to try on items costing tens of thousands of pounds!

Tracking down the Omotesando store seemed like next step to take and of course it was beyond elegant!

Stepping into the store felt like you were part of an exhibition...

I truly felt I had my Missoni fix in Tokyo!

P.S...From Jonie x

Are we turning Japanese..??

After spending the past few weeks researching and experiencing modern Japanese fashion we had the opportunity today to experience the traditional Japanese kimono in the best way possible- by wrapping ourselves up in the most casual style, the 'Yukuta.'

Along with learning a brief history of the kimono, we were showed examples of the different styles, prints and layering worn across the seasons. These details also traditionally distinguished your class or the formality of the occasion to which it was being worn. A woman's kimono tells more about her than a man, as details such as the sleeve length change according to her marriage status.

Dressing yourself in a kimono is an art and is even harder than you would imagine, even though our tutor today described it as 'Like you putting on a pair of jeans..' We found that the hardest element was wrapping the Obi correctly which was the Origami-like belt around the middle.

We managed in the end, but not without help from more experienced hands!..

PS.. From the Geeks xx

Toulouse-Lautrec: The Maurice Joyant Collection

Tokyo Mitsubishi Ichigokan Museum 

This exhibition housed an array of posters and lithographs in a visual, chronological journey into the works of the great documenter of late-19th century Parisian highlife, Henri de Toulouse-Lautrec. I have always been intrigued and slightly moved by French art and this collection of work was extensive and aesthetically captivating through a combination of the scale of the posters and the unambiguous portrayal of the subject. Taking full advantage of its close links with the Toulouse-Lautrec Museum in Albi, France, the museum had a vast selection of some of the 737 canvases, 275 watercolours, 363 prints and posters and 5,084 drawings that he is said to have created in his remarkably short lifetime.

Toulouse-Lautrec became immersed in the colourful world of Parisian nightlife while struggling with alcohol dependency, resulting in many of his works depicting lively nightclub and bar scenes of Montmartre. He excelled at capturing people in their humble state with the glamour of their surroundings stripped away, focusing often on crowd scenes in which one or two figures become the subject.

His unique depiction of people and ability to expose elements of their character relied on his painterly style which was comprised of strong but simple lines, giving great emphasis to contour. I love how his posters are built up from soft textures or pattern and areas of subtle colour applied to the background, layered with the confident use of heavier paint in long, thin brushstrokes which would often leave much of the background showing through.

There is a minimal approach to the use of line, and often you don’t need the finer detail because in your mind the picture is already formed. Black is used vigilantly but has a strong impact when it is applied, which is effective in drawing your attention to particular elements within the scene.

 The use of text adds dimension to the posters and dramatically alters the aesthetic. The staggered lettering of various fonts and sizes is used within the composition effectively and almost frames the subject. It was also interesting to see some of the prints with and without the lettering added to observe the strong impact of the text.

 Alongside the familiar posters were lots of hand drawn sketches and observations of people. These had strong expression in the line quality and were quite free in their style, retaining the ability to capture the subject in an unembellished state. 

I was interested to learn that his style was particularly influenced by ‘Ukiyo-e,’ traditional Japanese woodprints which became popular in art circles in Paris. Comparisons of these to the posters of Toulouse-Lautrec can easily be made in their similar use of line quality, composition and depiction of the characters within the print.

PS.. From Sarah x