I created a small cross-body bag made from ultra-lightweight racing sailcloth. The fabric, which consists of Technora fibres sandwiched between a polymer film, had its own unique challenges, particularly in my case. The fabric had to be covered with an extra layer of Dacron tape because sewing it directly would puncture the polymer film, causing it to tear. On top of that, the sail fabric is quite stiff to keep its shape when sailing, so the bag cannot be easily turned during the sewing process. Knowing all this, after about 5-6 prototypes (all of which failed in one way or another), the first semi-final version was ready. The design consisted of a rectangular bag with a small nylon belt running diagonally down the bottom of the bag and a zip running diagonally across the top. When worn, the bag folds along the bottom of the belt, creating two separate compartments. The seam isn't turned inwards, but is covered with Darcron tape, which is then topstitched in a zigzag pattern, creating strong edges and ensuring no tears in the polymere film. The underside of the bag has straps for attaching a light jacket or long sleeve. In my experience, working with unconventional materials is always a challenge, but anything new we do challenges us. The process of experimenting and testing new ideas is fundamental to building knowledge. The best thing about doing something unconventional is that people react to it, they get interested. They get curious, just like I got curious when I chose the material.
Experiment with unconventional materials in small doses, ensuring they complement the garment's overall aesthetic. Start with lightweight, easily manipulated materials like PVC or rubber for edgy accents or trims. For a statement piece, incorporate unexpected materials such as recycled plastics or unconventional textiles like Tyvek. Prioritize durability and comfort while maintaining the desired visual impact. Test prototypes rigorously to gauge wearability and longevity. Ultimately, balance creativity with wearability for a successful outcome that captivates without compromising functionality.
One of the best pieces of advice I've received came from my design professor at Parsons School of Design. He said, "When choosing your fabrications for a particular design, look and listen carefully to them. They will tell you what they want to become." In other words, use fabrics for what they are best suited for. Or manipulate them in ways that produce the intended and best outcome for your garment or product. Don't try to force a square peg into a round hole. I've always considered his advice when designing new products because it holds true. Either when looking for the best fabric for a design I have in mind or when confronted with fabrics searching for a design.